















VESTMENTS AND HOW 
TO MAKE THEM 



THE BISHOP OF LONDON 
The Rt. Hon. and Rt. Rev. A. F. Winnington 
Ingram, D.D., LL.D. 

[Vested in Cope and Mitre] 










VESTMENTS 

AND HOW TO MAKE THEM 


BY LILLA B. N. WESTON 

WITH A PREFACE B'.Y 

THE VERY REVEREND SELDEN PEABODY DELANY 
DEAN OF ALL SAINTS’ CATHEDRAL 
MILWAUKEE 


MILWAUKEE 

THE YOUNG CHURCHMAN CO. 
LONDON 

A. R. MOWBRAY & CO. 

1914 
















COPYRIGHT BY 

THE YOUNG CHURCHMAN CO., 
1914. 



JUL -6 l9l4gci A 3 74 6'7 7 


l*-'© t 


PREFACE 


This book ought to supply a long-felt and wide¬ 
spread need. There are many parishes and missions 
throughout the land that would use the proper orna¬ 
ments and vestments if they had them; and they would 
soon have them if women could easily learn how to 
make them. This book will make that possible. 

Where there is opposition to the use of eucharistic 
vestments and the liturgical colors—though this opposi¬ 
tion is not so widespread among our Church people as 
many imagine—it is often due to the fact that when 
such vestments have first been introduced, they were 
cheap and shoddy and of ugly and inartistic design. 
They antagonized the aesthetic rather than the reli¬ 
gious sense of the worshippers. And after all, the 
aesthetic sense is very akin to the religious sense. 
The Psalmist shows deep psychological insight when 
he urges us to “worship the Lord in the beauty of holi¬ 
ness.” When the clergy think of introducing the 
proper vestments in their church, they ought to shun 
the stiff, machine-made vestments that are displayed 
in certain shops, and call on the devoted women of 
the parish or mission to consecrate their spare time 
and energy to this holy work. No one can object to 
vestments that are beautiful, and carefully and prayer¬ 
fully made by the best and most loyal women of the 
congregation. 

Moreover, it is good for the women to be thus em¬ 
ployed. It is much more edifying than making 


clothes for mission boxes, necessary and admirable as 
that may be. I often think that one reason why guild 
work does not appeal to more women in our churches 
is that the sewing they are called upon to do is always 
of such an uninteresting character. Of course it is a 
noble work to make clothes for the poor; but if the 
only sewing done in a guild is on clothes intended for 
the poor, the effect on the guild members is sure to be 
somewhat depressing. It is as if one never saw any 
part of the city except the slums. In addition to sew¬ 
ing for the poor, let them make something rich and 
beautiful for our Lord and His Altar Throne. 

This age has gone mad over social service. The 
woman with the alabaster box of precious ointment, 
which she purchased for the anointing of her Lord 
and Saviour, would "doubtless receive the same harsh 
criticism from many Christian people to-day that she 
received from Judas: “Why was not this ointment sold 
for three hundred pence, and given to the poor?” We 
need to ponder over our Lord’s reply: “The poor 
always ye have with you: but Me ye have not always.” 
We need to learn again the value and the beauty of 
personal devotion to our Divine Lord. The making 
of vestments for rise in the Lord’s Service of the 
Eucharist will help to teach Christian women this 
much-needed lesson. A book like this ought therefore 
to be of great spiritual as well as material and prac¬ 
tical usefulness. Selden P. Delaxy. 


Page v 


TO ALL THOSE 


WHO CULTIVATE TRUE PATIENCE, 
THIS BOOK 

IS HUMBLY INSCRIBED 


INTRODUCTORY NOTE 


This book has been written with the primary idea of 
promoting a more reverently industrious spirit among 
the people of our parishes. Incidentally the making 
of Vestments by the women of the parish saves a great 
deal of needless expense; but it also brings all those 
who assist in such work into closer touch with the 
Church, her meanings and her blessed privileges. 

The fashioning of Vestments is not an idle task, 
nor should it be undertaken lightly. Vestments ought 
to be made when one is in a different frame of mind 
than one is likely to be when making a centre-piece 
or an apron, or even an exquisitely embroidered gar¬ 
ment. One should bear in mind that one is busy upon 
holy garments—garments in which a Priest of God is 
to stand arrayed as he offers prayers for the living and 
the dead, in which he greets Our Lord when He lies 
upon the Holy Table. One should keep one’s thoughts 


and words pure and sweet while at work upon such 
apparel, and pray often and reverently. 

It seems only reverent to suggest that no one with 
any great sin upon the soul should presume to assist 
in the making of Vestments, until such time as peace 
has been made with God. 

Vestments should not be jested over, as is so often 
the case with Guild sewing, nor carried carelessly 
about. Such a course is not seemly and smacks of 
sacrilege. While not yet in actual use, their ultimate 
use is to be an holy one, and care should be taken to 
attune one’s soul and thoughts accordingly. Our 
Blessed Lord’s garments were themselves fashioned by 
someone before He wore them; and every Vestment 
should be a constant reminder of Him and His stain¬ 
less life and boundless redemption. 

L. B. 1ST. W. 


Page vii 




TABLE OF CONTENTS 


PAGE 


Preface by the Very Key. Selden Peabody De- 
lany, Dean of All Saints’ Cathedral, Milwau¬ 
kee . 

Introductory Note . 

Some General Remarks. 

The Patterns. 

Embroidery Designs. 

Some Notes on the Origins of Vestments - - - 


vii 

1 

5 

5 

6 


CHAPTER 

I.—The Cassock - - - -.11 

II. —The Cotta.12 

III. —The Surplice.16 

Plain.16 

Sulpician.20 

IV. —The Alb.- 22 

V. —The Rochet - - - -.26 

VI.— The Girdle .-31 

VII. —The Amice. 32 

French - -- -- -- -- -32 

With Insert.- - 33 

With Stiffened Collar ----- 35 

Appareled.35 


CHAPTER 

VIII.—On Liturgical Colors and Symbolism 

IX. —The Chasuble.* - - 

Of White Linen. 

Of Silk. 

X. —The Eucharistic Stole. 

Of White Linen. 

XL —The Maniple. 

Of White Linen. 

XII. —The Preaching Stole ----- 

XIII. —The Cope 

XIV. —The Dalmatic. 

XV.— The Tunicle. 

XVI. —The Mitre.- 

XVII.— The Mozetta. 

XVIII. —The Chimere. 

XIX.— The Burse. 

Of White Linen. 

XX. —The Veil. 

Of White Linen. 

XXI. —Conclusion - - .. 


PAGE 

• 38 

42 

46 

47 

54 

55 
58 

58 

59 
61 
68 
73 
75 
78 
84 
86 

87 

88 
88 
89 


ERRATA 

p. 19—Last figures in last line, 2nd column, should be 15. 
p. 20—Page no. in 4th line from bottom, 2nd column, should be 19. 

p. 21—Page no. in 2nd line from bottom, 1st column, should be 15. 

p. 25—Page no. in 7th line from bottom, 1st column, should be 19. 

p. 25—Page no. in 7th line from top, 2nd column, should be 15. 

p. 27—Page no. in 10th line from top, second column, should be 22. 
p. 27—Page no. in 10th line from bottom, 2nd column, should be 24. 
p. 27—Page no. in 9th line from bottom, 2nd column, should be 25 
p. 30—Page no. in 5th line from bottom, 1st column, should be 19. 
p. 30—Page no. in last line, 1st column, should be 15. 

p. 52—Page no. in 12th line from top, 2nd column, should be 46. 

p. 52—Page no. in 20th line from top, 2nd column, should be 46. 

p. 76—Page no. in 22nd line from top, 1st column, should be 65. 

p. 83—Page no. in 5th line from top, 2nd column, should be 15. 


Page ix 







































DIAGRAMS 


FIG. PAGE 

1— Cotta. Pattern of Front or Back—(Half) - 14 

2— Cotta. Pattern of Sleeve—(Half) - - - - 15 

3— Plain Surplice. Pattern of Front—(Plalf) - 10 

4— Plain Surplice. Pattern of Back—(Half) - 18 

5 — Plain Surplice. Pattern of Sleeve—(Half) - 18 

6— Plain Surplice. Pattern of Yoke or Neck¬ 

band. Front or back—(Half) ----- 19 

7— Plain Surplice. Pattern of Gusset for under 

Sleeve—(Entire).19 

8 — Sulpician Surplice. Pattern of Front or 

Back—(Half).20 

9— Sulpician Surplice. Pattern of Neck-band— 

(Entire).21 

10— Sulpician Surplice. Pattern of Sleeve— 

(Half).- 21 

11— Alb. Pattern of Front—(Half). 23 

12 — Alb. Pattern of Back — (Half) ----- 23 

13— Alb. Pattern of Sleeve—-(Half) - - - - 24 

14 — Alb. Pattern of Finishing Piece for Front 

Opening—(Entire).24 

15— Alb. Pattern of Gusset—(Entire) - - - - 24 

16 — Rochet. Pattern of Front or Back—(Half) - 27 

17— Rochet. Pattern of Front Yoke—(Half) - - 28 

18— Rochet. Pattern of Back Yoke—(Half) - - 28 

19— Rochet. Pattern of Sleeve—(Entire) - - - 29 

20 — French Amice. Pattern—(Entire) - - - - 32 

21 — Amice with Insert. Pattern of Cape-Por¬ 

tion—(Entire).33 

22 — Amice with Insert. Pattern of Collar—(En¬ 

tire) .-.33 

23 — Amice with Stiffened Collar. Pattern of 

Cape-Portion—(Entire) . 34 

24 — Amice with Stiffened Collar. Pattern of 

Collar-Portion—(Entire) - -- -- --34 

25— Amice with Stiffened Collar. Pattern of 

Interlining of Collar—(Entire) - - - - 34 

26— Appareled Amice. Pattern of Cape-Portion— 

(Entire).36 

27— Appareled Amice. Pattern of Collar-Por¬ 

tion—(Entire).36 

28— Chasuble. Pattern of Front—(Half) - - - 44 

29— Chasuble. Pattern of Back—(Half) - - - 44 


FIG. PAGE 

30— Chasuble. Back. Showing arrangement of 

Orphreys. ---47 

31— Chasuble. Front. Showing position of Pil¬ 

lar ---- . .--.-48 

32— Chasuble. Back. Showing Flower and Sacred 

Monogram - -- -- -- -- -- -49 

33— Chasuble. Back. Showing Vesica of Rays in 

gold-work. --50 

34— Eucharistic Stole. Pattern—(Half) - - - 54 

35— Drawing of Embroidery Frame ----- 55 

36— Maniple. Pattern—(Half).58 

37— Preaching Stole. Pattern—(Half) - - - - 59 

38— Cope. Pattern—(Half) -------- 62 

39— Cope. Hood. Pattern—(Half).63 

40— Cope. Pattern of Morse—(Entire) - - - - 63 

41— Cope. Morse. Showing location of Hooks - 63 

42— Cope. (Entire). Showing positions of Or- 

phrey, Flood, and Morse - -- -- --04 

43— Cope. (Entire). Showing another way of 

fastening, on Hood - -- -- -- --06 

44— Dalmatic. Pattern—(One quarter) - - - - 68 

45— Dalmatic. Showing manner of laying pattern 

onto goods for cutting.69 

46— Dalmatic. Pattern of Neck—(Entire) - - 70 

47— Dalmatic. Front. Showing arrangement of 

Orphreys.-.71 

48— Dalmatic. Back. Showing arrangement of 

Orphreys - -- -- -- -- -- -72 

49— Tunicle. Front. Showing arrangement of 

Orphreys.--- 73 

50— Tunicle. Back. Showing arrangement of 


Orphreys.74 

51— Mitre. Pattern of Back or Front—(Entire) - 75 

52— Mitre. Pattern of Top—(Entire) - - - - 76 

53— Mitre. Pattern of Infula—(Entire) - - - 77 

54— Mozetta. Pattern of Front—(One side) - - 80 

55— Mozetta. Pattern of Back—(Half) - - - 81 

56— Mozetta. Pattern of Hood—(One side) - - 82 

57— Burse. Pattern—(Entire) ------- 86 

58 — Burse. Pattern of one Side-piece — (Entire) - 86 

59— Veil. Pattern—(Entire).88 

60— Veil. Showing position of Embroidery - - 88 


Page x 


























ILLUSTRATIONS 


PAGE 

The Bishop of London. Vested in Cope and Mitre ii 
Byzantine Vestments. From Ravenna Mosaics - 7 

Priest in Cassock. 11 

Choir Boy in Cassock and Cotta.13 

Priest in plain Surplice, Cassock, and Stole - - 17 

Forms of Crosses .41 

Priest in Eucharistic Vestments.43 

Examples of Modern Chasubles .45 

The late Rev. John Mason Neale, D.D., Vested 

in Eucharistic Vestments.51 

The Stole and Maniple of St. Cuthbert - - - 57 
The Bishop of Michigan City vested in Rochet 

and Mozetta.79 

The Presiding Bishop vested in Rochet and Chi- 

mere .85 


Page xi 











SOME GENERAL REMARKS 


C AKE should be taken not to have too great a 
difference between the general scheme of 
Church furnishings and the tone of the Vestments. 
Harmony should prevail, even though the Vest¬ 
ments have to be made less splendid. Beautiful 
work can always be done, and the most exquisite 
sewing will be appreciated on the simplest Vest¬ 
ment. 

The tasteful selection of shades is of distinct 
importance. Let them be rich and warm and of 
true color. Avoid a violet which is really a blue 
or a dark red, and take care that it escapes being 
a blinding purple; violet with a brownish cast is 
hideous. In greens, avoid a dull pasty drab or a 
sharp emerald; be careful of reds—they are fre¬ 
quently a pitfall for the unwary. Cerise is never 
good, and turquoise almost never, although an 
extremely pale shade of turquoise has been em¬ 
ployed to good advantage for Chasuble linings, 
etc. Cream is preferable to dead white, and soils 
less easily. 

Fabrics should be rich and heavy, the best 
being the most economical in the long run. 

When Cottas are to be made, do not use cot¬ 
ton ; use pure linen. Of course this rule applies 
to the Surplice, Alb, Rochet and Amice as well. 

If lace is used, always have it of linen, and 
let it be hand-made if possible. It is far better 
to use no lace at all than to have it of cotton or 
cheaply made. The objection is sometimes raised 
that the use of lace on Vestments is Romish, and 
that it was not used in the early Church. As a 
matter of fact, good lace is entirely proper if 
tastefully employed; it is not particularly Rom¬ 
ish, and if it were, it is difficult to discover any¬ 
thing criminal in the fact. The reason that it was 
not used in the early Church was that it had not 
yet been invented. However, lace should never be 
used too abundantly. Of the two, embroidery is 
usually preferable and more beautiful. 

Vo Vestment should ever be subjected to a 


sewing-machine. Every stitch should be put in 
by hand, as exquisitely as may be. 

Vestments are fashioned from linen, damask, 
brocaded satin or silk, silk velvet, cloth-of-gold, 
plain satin, plain silk, heavy ribbed silk, etc. 
China silk is sometimes used for unlined Chasu¬ 
bles when coolness is desired. 

All of these materials can be obtained at the 
best shops or the large department stores in cities. 
Also, in many cities there are shops which deal 
exclusively in Churchly fabrics, and it is in these 
places that the choicest materials can be pur¬ 
chased. If one lives in a village or small town 
the most satisfactory method is to send to some 
large city for samples of goods, being sure to state 
colors and shades desired. 

Colored linens are highly desirable for linings, 
but cannot be obtained in this country. They 
may be imported from England, however. They 
are more expensive than silk, but far more durable. 

Fringes may be obtained in white or cream, 
and sent to be dyed any desired color. In the 
event of this being done, it is best to buy the 
material first and send a bit with the fringe to 
the dyer, with instructions to match the shade 
exactly. Gold fringe must be kept away from all 
dampness or sulphur, or it will tarnish and become 
an unsightly black. This applies to silver fringe 
also. 

The gold thread recommended in this book 
is in reality gold couching thread, being gilt paper 
wound about a cord. It is called Japanese and 
Chinese gold; the Chinese is the finer. It comes 
in skeins and is highly satisfactory in that it does 
not tarnish; but care must be taken not to loosen 
or unwind the paper from its cord while at work 
with it. It should be drawn through the fabric 
with a large-eyed darning-needle, the needle re¬ 
moved, and the loose end of the gold thread se¬ 
curely fastened with needle and thread to the 
under side of the material. Except on Chasubles, 


Page One 


Page T u>o 


VESTMENTS AND HOW TO MAKE THEM 


Copes, and Mitres, where great gorgeousness is 
sought, it is best to use the very fine gold thread. 
Several rows sewn side bv side are much better 

c/ 

than a single coarse thread. 

Too much stress cannot be laid upon the neces¬ 
sity for frequent basting, pinning and pressing. 
In the linen Vestments this is as indispensable as 
in the thin silk, etc. Care must be taken never to 
press silk on the right side, unless it be in the 
case of a finished Vestment; then a cotton cloth 
(white if the Vestment be white, and of a darker 
color if the Vestment is a dark one; this is to 
prevent white lint from being pressed into a dark 
material) must be laid carefully over the Vest¬ 
ment to be pressed, and an iron (not really hot) 
passed slowly over it. Linen should be pressed on 
the right side. Paper-weights are often a great 
help in cutting accurately, as pins are sometimes 
awkward and tend to pull soft goods. 

When embroidering, especially on white or 
cream fabrics, it is best to roll up the loose end 
of the goods and pin it into a large handkerchief. 
This not only keeps it perfectly clean and un¬ 
mussed, but admits of a more convenient handling 
of the piece. If too large to fold into a handker¬ 
chief, use a pillow-case. 

For Orphreys, Copes, and Mitres, and other 
large pieces of embroidery, an embroidery frame 
should be used. It is not difficult to make, being 
similar to a quilt-frame in construction, except 
that the two ends are much shorter and the two 
sides often longer. In fact, several frames are 
necessary if a variety of Vestments are to be 
made. The Cope, for instance, must be set into 
a frame for the purpose of fastening on the long 
Orphrey; as this is very long, one can easily see 
that it would be useless to have these long side- 
beams in the way when making smaller pieces 
of embroidery, such as Chasuble Orphreys or 
embroidery for the Mitre or Appareled Amice. 
These beams are made from reasonably heavy 
wood of the desired lengths, and must have holes 
bored at intervals for the purpose of changing the 
dimensions of the frame at will. The frame is 
illustrated on page 49. Proper clamps can usually 
be bought at a furniture or upholstery shop; or 
an ordinary bolt and nut can be used at each 


corner, and the corner secured with twine. Strips 
of strong webbing should be tacked onto the inner 
side of each beam, so that the linen may be fasr 
tened to it. To use the frame, fasten unbleached 
linen of the desired size firmly to one side and put 
the frame together; finish by fastening the other 
side and ends of the linen onto the webbing; the 
linen should be stretched tight as a drum-head. 
It is best to turn in each edge 1 inch before putting 
into frame, as this prevents the linen from fray¬ 
ing or tearing when cord is laced into it from the 
webbing. Fasten the material to be embroidered 
onto the linen, and proceed to embroider through 
the linen. As the embroidery progresses, the beams 
can be rolled under so as to reduce the size of 
the frame, thus making the work less cumbersome. 
A white cloth should be lightly pinned over the 
portions of embroidery which are either finished 
or waiting to be done. This keeps silks from 
roughening and the entire piece from becoming 
soiled or damaged in any wav. 

Alien not wishing to use the frame (such as 
for small pieces like Stole-ends, etc.) strips of 
firm cambric should be basted onto each edge of 
the material to be embroidered. These strips 
should be of generous width (six or seven inches) 
and somewhat longer than the strip of material. 
They will prevent fraying of the material itself, 
and will also insure sufficient width for the em¬ 
broidery hoop. 

Do not use an embroidery hoop which is too 
small for the design. Even though it seems more 
awkward, use a very large one. Gold thread is 
easily damaged beyond repair by too small a hoop, 
and threads are disarranged. A hoop with a 
spring at one side is the best. An oval hoop is 
good too, especially where there is a length of em¬ 
broidery to be done. 

In all instances use a very fine needle. Be 
sure that it has a smooth eye, otherwise the em¬ 
broidery silk or linen will become roughened and 
weakened. 

A little white soap applied to the extreme tip 
of embroidery silk will render it easily threaded. 

Useful little pins may be made by taking 
sharp needles (those with broken eyes will an¬ 
swer the purpose just as well as new ones) and 



VESTMENTS AND HOW TO MAKE THEM 


Page Three 


molding a small head of warm sealing wax about 
the eye-end. These will not leave holes in delicate 
fabrics, as will regular pins. They must not be 
left in the goods for any length of time, however, 
as they are apt to rust. 

It is best to wash and iron all linens before 
making them up into Vestments. This shrinks 
them, and one can get the perfectly correct meas¬ 
urements. To launder, wet in cold water and 
rub well with a good white soap; put them into 
a vessel containing boiling water, a spoonful of 
borax and a little shaved white soap, and bring 
to a boil; rub them a little with the hands (adding 
a little cold water), rinse twice, dry them, sprin¬ 
kle, roll tightly in a towel and let lie for a little 
while; then carefully iron them on the right side. 
Hang to dry thoroughly. Remember that linen 
scorches very easily. If there is embroidery, lay 
it wrong side up on a folded bath-towel, and iron 
until dry before ironing the plain portions of the 
V estment. 

French knots should be avoided in linen em¬ 
broidery whenever possible. In the centres of 
flowers, etc., they do very well. But as a general 
thing they are so difficult to iron nicely that they 
are impractical. Chain-stitch is in some cases a 
good substitute, and looks well when laundered. 

For padding embroidered stems, etc., use white 
couching cord (it comes in skeins) or ordinary 
white darning cotton on spools. If the latter is 
used (and it generally is for flowers, leaves, etc.) 
take the four threads as they come from the spool 
and pad with a chain-stitch whenever possible. 
There is also a soft white crochet cotton which 
comes in balls, and is excellent for padding. 
Heavy padding lends a rich appearance to em¬ 
broidery, but should never be employed on thin 
fabrics. 

Too much care cannot be exercised in the 
selection of embroidery silks. In the first place, 
make sure that they are wash silks and of the best 
quality. The colors may be light and dainty or 
rich and deep, but if one is not careful a gaudy 
effect may be produced. Brilliant w T ild-rose, no 
matter how charming it may look in the skein, 
has no place on Vestments; the peach-blossom pinks 
and the shades of salmon and coral and old-rose 


are particularly good. Warm golden yellows are 
better than lemon yellow; the softer shades of 
moss-green and leaf-green are excellent, as are 
also shades of olive. 

In making white Vestments of silk, satin, and 
the like, keep constantly in mind that the Vest¬ 
ment is white; do not make the mistake of spoil¬ 
ing its festal purity by the application of glaring 
pinks and startling blues or vivid greens. Add 
gold thread whenever possible, as it lends a del¬ 
icate air along with a sumptuousness otherwise un¬ 
attainable. Do not make the pattern too fine or 
too intricate. Simplicity of design is always safe 
and in good taste. 

In basting, be sure to leave knots on the out¬ 
side. Otherwise do not use them. They must 
be removed before the Vestment is pressed. If 
the basting has to be left in during preliminary 
pressing, take the scissors and snip off all knots 
or they will leave a permanent dent in the mate¬ 
rial. All bastings must be removed before the 
final pressing. 

Applique embroidery should first be done on 
firm, heavy linen or canvas and then cut out per¬ 
fectly, leaving a narrow rim 1-16 of an inch wide 

all around. Baste and hem the embroiderv se- 

«/ 

curely onto the Vestment for which it has been 
prepared, tacking it firmly through the centre with 
matching silk; finish by putting it into the em¬ 
broidery frame and couching several rows of coarse 
gold thread around every edge. 

The fundamental colors used in making Vest¬ 
ments are: white, green, red, violet, and black. 
Linings of Chasuble sets are not included in this 
list; they may be of any color which seems 
suitable. 

The hemmed seam is used on linen work, and 
on other fabrics when no lining is provided. It 
is a blind seam and a thing of beauty. First sew 
the seam neatly by hand, a little more than a half¬ 
inch in depth. Crease it open with the finger¬ 
nail, and trim off one edge to half its original 
width. Fold the wider edge over the trimmed 
one, and turn under as for a hem. Baste down; 
hem blindly with a very fine needle and thread 
(or silk, if the Vestment is of silk—China, for 
example). Press. After linen is laundered, one 



Page Four 


VESTMENTS AND HOW TO MAKE THEM 


will have difficulty in distinguish in 2 ; the wrong 
side from the right. 

The felled seam should be used on silk, satin 
and the like. This is made by folding over each 
edge to be sewed about half an inch on the wrong 
side of the material, and hasting down. The 
edges are then laid together, right sides of material 
facing each other, and these basted together. The 
two edges are then sewed together bv hand, over- 
and-over, using matching silk and the smallest 
possible stitches. When the seam is finished, re¬ 
move all bastings, and flatten out the seam, press¬ 
ing if necessary with a cool iron. If the edges 
of the material seem to fray unduly, over-cast each 
edge. 

A convenient sewing-table may be made by 
taking a sewing-table, from the top of which the 
varnish has become worn. Wash the top well and 
let it dry thoroughly. Spread a third of the top 
at a time thinly with glue, and lav onto it heavy 
green felt. Press down firmly with a cloth, trim 
edges to fit the table-top perfectly, and set away 
until dry. This is a great improvement on the 
plain wood table-top, as goods will not slip off, 
and pins can be fastened into it. Keep clean by 
brushing. 

In working on silks, the condition of the hands 
is most important. Before beginning such work, 
wash the hands thoroughly, and while still wet 
apply a lotion made of equal parts of glycerine 
and bay rum; rub well into the skin and wipe dry. 
If the hands perspire and if the materials be 
white, powder the hands sparingly. 

The reader will kindly bear in mind that the 
Vestments herein treated of are the Vestments 
in use at the present time in the Church in the 
United States of America. Xo attempt has been 
made to undertake the description of Vestments 
which are obsolete or which are not required in 
Churches and Cathedrals in this country, and 
those established by missionaries going out from 
us. It is true that there are Vestments in the 
English Church with which we are unfamiliar, 


such as the Pallium, Almuce, and Tippet. These 
the author has not touched upon. 

Xeither has anything been said as regards cost 
of material, etc. Prices vary to such an extent, 
according to width, quality, etc., that such a thing 
has been well nigh impossible. Whenever possible, 
the number of yards of material necessary to make 
up a Vestment has been given; but here again 
differing widths of materials have rendered the 
task difficult. 

The Vestments herein treated are of average 
size. If made particularly for a very large man 
or a very small man, they would of course have 
to be changed accordingly. 

o O %J 

When embroidering on linen, use DMC em- 
broidery cotton, the finer the better. 

A Chasuble set consists of : Chasuble, Eucha¬ 
ristic Stole, Maniple, Burse, and Veil. The 
Burse and Veil are not properly Vestments, but 
will be treated of in this book so that they may be 
made to match the rest of the set. It is best to pur¬ 
chase enough material to make the set and also 
a Preaching Stole at the same time. The linings 
are all alike as well as the outside material. 

In making a Dalmatic, it must be remembered 
that out of the same materials must also be made 
a Tunicle, one Eucharistic Stole crossed for the 
Deacon, and two Maniples, one for the Deacon 
and one for the sub-Deacon. 

While every Priest has some Vestments of his 
own, a well-equipped parish ought to possess a 
Chasuble set of each color, together with matching 
Preaching Stoles; and in addition to these, several 
Cottas for servers, two Albs, two or three Amices, 
two Girdles, several Copes, and at least two Dal¬ 
matics and Tunicles with accompanying Stoles 
and Maniples. I 11 small parishes where there are 
never a Deacon and sub-Deacon assisting at Mass, 
the Dalmatic and Tunicle may be omitted. 

The Cassock, Rochet, Mozetta, Surplice, and 
Mitre are always personal possessions, and are 
not supposed to be provided by the parish. 




VESTMENTS AND HOW TO MAKE THEM 


Page Five 


THE PATTERNS 


'T'HE patterns in this book have all been drawn 
-»• to scale; the correct proportions are there¬ 
fore always preserved. 

It will be noticed that the smaller parts, such 
as yokes, etc., have been drawn much larger ac¬ 
cordingly than the other portions of the same pat¬ 
tern. d his has been intentional, with the idea of 
making them easier to draw and cut. 

To reproduce these patterns upon paper for 
actual use, first procure large sheets of new manila 
paper of firm quality. Where more than one sheet 
is needed for one pattern (or portion), lap over 
edges of two (or more, as needed) sheets and paste 
carefully, afterward pressing with heated iron. 

An accurate tape-measure and a good wooden 
ruler are indispensable; also a square, such as 
carpenters use. The longer the ruler the better. 
Measure accurately. This is the foundation of 
success in drawing the patterns. 


As a rule, it is best to draw the bottom hori¬ 
zontal line first, and then the perpendicular one 
at the longest side (in a half-pattern). When the 
pattern is given entire, draw the line down the 
centre first, and work from that. One-half inch 
is allowed for all seams, and two inches for hems, 
unless otherwise stated, as in the case of the nar¬ 
row hems- on the Amice. 

After the pattern is correctly drawn, outline 
it plainly with a blue pencil, and cut out with 
precision. 

When one has finished using the pattern of an 
entire Vestment, it is best to label it and roll all 
the portions up together and encase the roll in 
tissue paper. These rolls may be laid away for 
future use. If the pattern is small or much worn 
from use, it is best to roll it on a mailing tube to 
prevent tearing. 


EMBROIDERY DESIGNS 


S UITABLE embroidery designs are somewhat 
difficult to obtain, but can usually be ordered 
through small art concerns from large dealers in 
art goods. Church goods dealers are often able 
to supply such designs. These dealers usually 
advertise in the best Church papers, and their ad¬ 
dresses can be obtained in this way. 

There is an English book of ecclesiastical em¬ 
broidery designs published by Thomas Brown & 
Son, 21 Princess Street, Manchester, England, 
which is truly excellent and exhaustive in every 
way. We know of no other book covering the 
ground as thoroughly and at the same time as 
satisfactorily. 

Getting the design on to the material is a deli¬ 
cate operation at best. Stamping powder which 
comes with perforated patterns cannot be relied 
upon, as it is likely to smear unless used by an 
experienced and rarely deft hand; such smearing 
of course ruins the material. Perhaps the best 
wav is to transfer the embroidery design to a thin 
but firm paper by the simple method of placing 
the thin paper over the design and tracing it with 


a pencil. , From this thin copy, the design may 
be transferred to the fabric by means of a sheet 
of blue carbon-paper (if the fabric is light col¬ 
ored). If the material be dark, perforate the lines 
of the original design by running it through an 
unthreaded sewing-machine. Fasten to the fabric 
and rub whiting over the perforated lines, bv 
means of a ball of cotton-batting twisted into a 
piece of thin cheese-cloth. Bemove the design 
carefully, and go over all outlines on the fabric 
with a fine brush and Chinese White (water 
color). Care must be taken not to wear the white 
outlines off before embroidering. For this reason 
an embroidery frame will be found much better 
than an ordinary embroidery hoop. 

The large and complete Church Kalendar 
(published by the Church Kalendar Co., 1 Madi¬ 
son Ave., Xew York), is full of Churchlv informa¬ 
tion of all kinds, and goes into details as to appro¬ 
priate flowers and fruit for designs to be used- on 
Vestments at different Church seasons. By study¬ 
ing this vearly Kalendar one is not likely to make 
a blunder about these important things. 





Page Six 


VESTMENTS AND HOW TO MAKE THEM 


SOME NOTES ON THE ORIGINS OF VESTMENTS 


T HE author is conscious that many people 
(more than one would imagine) are afflicted 
with the erroneous notion that our Blessed Lord 
gave detailed (or at least, general) instructions to 
His Apostles relative to the garments which they 
should wear during the services of His Church. 
At the very least, these people are of the opinion 
that the Apostles themselves gave certain direc¬ 
tions, being inspired by His wishes in the matter. 

How it is an unpleasant thing to upset opin¬ 
ions ; but it is a graver thing to harbor mistaken 
conclusions. 

As a matter of fact, the Apostles had no 
Church buildings of their own at all when thev 

O %j 

began their campaign for Christianity; much less 
had thev any designated liturgical garments. 

The author has thought best to quote directly 
from such learned writers as Dearmer and 
Duchesne, as well as from some less widely known. 
“The Ornaments of the Minister,” by the Rev. 
Percy Dearmer; “Christian Worship: Its Origin 
and Evolution,” by Mgr. Louis Duchesne; and 
“The Churchman’s Ready Reference,” by the Rev. 
Alexander C. Haverstick, have afforded the author 
much valuable information on the subject in hand. 

“The Apostles of Christ, as soon as they ar¬ 
rived in a locality, placed themselves in communi¬ 
cation with the Jewish community, preached in 
their synagogue, and set forth the object of their 
mission. It does not appear that they ever were 
completely successful, and that the entire Jewish 
colony in any place accepted the Gospel. In most 
cases, after having recruited a certain number of 
adherents, they and their disciples were excom¬ 
municated by the elders of the synagogue. They 
then founded a fresh group, schismatical in rela¬ 
tion to the older one, with its separate meetings 
and with a distinctive spirit, doctrine, and gov¬ 
ernment. This was the origin of the local Chris- 
tian communities, the beginning of the body of 
the faithful—in a word, the Church of Jesus 
Christ. 

“Detached one after another from the Jewish 
communities, and rapidly increased by an active 
propaganda among the pagan population, the 


Christian Churches soon realized that they were 
united together by a common feeling of faith, 
hope, and charity. The more they spread and 
increased in strength, the stronger this feeling re¬ 
vealed itself. It was a new religions brotherhood, 
a loftier and more ideal nationality looking for 
its realization in the near future. Although on 
the earth, and in the world of reality, its expan¬ 
sion was not that of a race, nor its establishment 
a national one, for it had no local religious centre 
answering to Jerusalem and its Temple. . . . 

The Jewish communities were recognized; the 
Christian communities were not. Their existence 
was in contradiction to the law, and their devel¬ 
opment soon came to be considered wholly incom¬ 
patible with the constitution, and even with the 
spirit, of the Empire. Hence the state of in¬ 
security, and at times, of terror, in which the 
Christians lived. ...” (Duchesne.) 

“The Lord told Moses to make Aaron and his 
sons ‘garments for glory and for beautv’ (Ex. 
xxviii. 2, and 40). This reason has passed into 
the Christian Church. . . . Vestments are early 
mentioned by Church writers. Polvcrates, quoted 
by Eusebius (fourth century), says St. James at 
Jerusalem, and St. John at Ephesus, wore the 
mitre of the High Priest. Eusebius also speaks 
of the ‘sacred gown and sacerdotal garments worn 
by Bishops and priests.’ The Apostolical Consti¬ 
tutions (third century) refer to the ‘Splendidum 
vestum.’ ” (Haverstick.) 

The symbolism of Vestments, mentioned by 

«/ * «/ 

some modern writers, and accepted by many sensi¬ 
ble people, seems to be entirely without founda¬ 
tion. However, these symbolisms, if separated in 
the mind from actual authenticity, are good and 
pious thoughts, and so entertained, are harmless. 
But it is a mistake to teach or say or think that 
any such meanings have come down to us from 
ancient or even Mediaeval times, for they have 
not. The colors, however, have gradually come to 
have a settled svmbolical meaning; and each one 
expresses a fixed idea, according to the Church 
seasons for which it is used. 

The garments which had become Church Vest- 

o 



VESTMENTS AND HOW TO MAKE THEM 


Page Seven 



BYZANTINE VESTMENTS 
From Ravenna Mosaics 























Page Eight 


VESTMENTS AND HOW TO MAKE THEM 


ments before the year of our Lord 600, are the 
Alb, Girdle, Chasuble, Tunicle, Dalmatic, Stole, 
and Maniple. Following is the list with corre¬ 
sponding Greek and Latin names. 


Alb. 


Chasuble . 


JLatin- 

’ \ Greek- 

j'Latin- 

‘ ( Greek- 

„ fLatin- 

Tunicle. . . r , , 

[ Greek- 

„ fLatin- 

Dalmatic...| G reek _ 

| Latin- 
(Greek- 
J Latin- 
‘' l^Greek- 


Stole. 


Maniple . 


-Tunica. 

-Chiton, Enduma, Sticharion. 

-Paenula, Amphibalus, Planeta, Casula. 
-Phaenoles, Phelones, Phelonion. 
-Tunica, Tunicella. 

-Chiton. 

-Dalma tica, Colobium. 

-Dalmatike, Kolobion, Sakkos. 
-Orarium, Stola. 

-Orarion, Epitrachclion. 

-Mappula, Maniputurn. 

-Encheiron. 


The costume prescribed (at Rome) by a law 
of 397 A. D., for official persons was “An under¬ 
tunic, with or without sleeves, and a paenula, or 
immense cloak, which was sleeveless and without 
any opening in front. The head was passed 
through an aperture made in the centre of the 
garment, and it was lifted in folds over the arms 
when the wearer required to make use of his 
hands.” (Duchesne.) 

“The under-tunic has become the albe, from 
which have been derived, through various modifi¬ 
cations, the rochet and the surplice. . . . The 
planeta (or Paenula) has become the Chasuble. 
... It Avas a costly garment, and the inferior 
clergy gave up its use at an early date. . . . The 
liturgical dress comprised . . . the albe . . . 
and the planeta (Chasuble).” (Duchesne.) 

The Alb and Chasuble are mentioned in the 
New Testament. “Of these two the Albe is the 
most in evidence, because it was worn by the Jews 
and other Orientals as well as by the Greeks and 
Romans. It was also probably the first to have 
a distinct liturgical use. . . . The Chasuble ap¬ 
pears as a Eucharistic vestment as early as the 
end of the fourth century in France. ...” (Du¬ 
chesne. ) 

A magistrate’s attendant, “When in full dress, 
also donned the paenula” (Chasuble) “over the 
tunic . . . the under-garment being confined at 
the waist by a girdle.” But “the albe of the dea¬ 
con . . . fell straight from the shoulders.” (Du¬ 
chesne.) 

“Deacons . . . were allowed to wear the Dal¬ 
matic ... as early as the vear 350. . . . Indeed, 


Braun considers that this use . . . may date 
from the third century. ... St. Martin (who 
died in 397) used to wear the tunic (alb) and 
Amphibalus (chasuble) while celebrating the Eu¬ 
charist. And in the earliest monument of a bishop 
which we possess, the mosaic of St. Ambrose in 
his church at Milan, the saint is represented in 
Albe, Dalmatic, and Paenula; this mosaic was put 
up soon after his death (A. D. 397) and evidently 
represents him as he appears in his lifetime.” 
(Dearmer.) 

“On the day of his martyrdom in 258, St. 
Cyprian wore a linen tunic, a dalmatic, and an 
over-garment, answering to the paenula. As early 
as the end of the fifth century, the dalmatic, which 
had passed out of fashion as an ordinary article 
of clothing, had become the distinguishing badge 
of the Pope and his clergy. The Pope sometimes 
granted it as an honorary decoration to Bishops 
and deacons of other Churches.” (Duchesne.) 

The Maniple ( pallium, linostimum ), Du¬ 
chesne tells us, appeared at the beginning of the 
sixth century, a variety of the napkin or mappula. 
It was woven of wool and linen, and was worn 
on the left arm. Dearmer tells us it was “origi¬ 
nally worn over the left arm by servants. . . . 
But before it developed . . . into a Church Vest¬ 
ment, it had already become a mark of honor in 
the Roman Empire.” 

“The various liturgical vestments . . . hither¬ 
to mentioned were merely the ordinary garments 
of daily use, which were gradually invested with 
a sacred character.” (Duchesne.) 

The Stole ( orarium ), appeared in the fourth 
century. It was, according to Duchesne, “merely 
the ancient sudarium (handkerchief or neck¬ 
cloth).” 

Dearmer asserts, in connection with the Stole, 
that “the Emperor Aurelian (A. D. 270-5) gave 
the people Oraria to wave by way of applause at 
the public games, just as nowadays handkerchiefs 
are waved.” 

“The ancients wore ... in the age of Au¬ 
gustus (B. C. 27—A.D. IT) an Over-tunic for 
warmth and comfort; this corresponds with our 
Tunicle. ...” (Dearmer.) 

In the second century “The Emperor Commo- 





VESTMENTS AND HOW TO MAKE THEM 


Page Nine 


dus went about publicly in a Dalmatic; this gar¬ 
ment . . . had been introduced from Dalmatia.” 
(Deanner.) 

The Mitre of Bishops, “Only a glorified hood, 
takes its origin from a cowl ( cucullus ), which in 
olden times was an article of apparel of the work¬ 
ing classes and the poorer peasantry . . . ” accord¬ 
ing to Duchesne. It appears to be in no way re¬ 
lated to the papal tiara or Phrygian cap, as some 
authors would have it. 

The Cope (Latin— lacerna, byrrus, pluviale, 
cappa ), was “first introduced from Asia by Lucul- 
lus for officers in the army as a protection against 
the weather. ... It became . . . fashionable 
among Roman citizens, by whom it was worn as 
a summer overcoat, a light protection against dust 
and rain. ... In Trajan’s time it was worn as 
a mantle bv the Lictors. . . . The Byrrus was 
thicker and stiffer, and was used in the winter. 
... St. Augustine, Bishop of Ilippo until 430, 
wore as an ordinary cloak what he calls both 
Lacerna and Byrrus. . . . Silk Cappae are men¬ 
tioned in a Spanish inventory of the eighth cen¬ 
tury. . . . Cappa appears as the definite name of 
the liturgical Cope.” (Deanner.) 

Dearmer also says that the Cope is “the con¬ 
necting link between the Primitive and the Later 
Church.” 

The Amice ( ami dus ) is spoken of by Dear¬ 
mer as “A neck-cloth that was indeed part of the 
secular dress of ancient times. By the eighth 
century it had become a common Ornament of the 
Ministers.” 

“A knotted band was employed to gird the 
Tunic in Classical times, and this passed into 
Church use.” (Dearmer.) This is our Girdle. 

“In the ninth century we find traces of a 
Rochet, a tunic or camisia worn as a kind of linen 
cassock under the other vestments.” (Dearmer.) 

As for the Surplice, there are traces of it in 
the eleventh century. It means the garment worn 
“over the fur coat,” pellicum or pelisse. “In the 
cold churches of the North, men wore a cassock 
lined with fur. . . . Thus ... the Superpel- 


liceum, ungirt and with large sleeves, was used. 

. . . In the twelfth century we first have a dis¬ 
tinct mention of the Surplice as a liturgical gar¬ 
ment worn by priests; it then gradually displaced 
the Albe . . . being used for ministering the Sac¬ 
raments ; . . . though it does not appear . . . 
in . . . Rome till the thirteenth century. . . . 
It was never of course worn as a Eucharistic vest¬ 
ment . . . but was often worn bv the celebrant 

t/ 

under his Albe and Chasuble, no doubt for 
warmth . . .” (Dearmer.) 

“Braun considers lace appearing on an Alb 
or a Rochet or a Surplice ‘an abuse.’ Opening a 
Surplice in front dates back to the age of the full- 
bottomed wig.” (Dearmer.) 

The Llood ( capitium ) was “an academical 
garment which was originally a common article 
of Mediaeval attire. . . . Before the fourteenth 
century ... it was ... a common article of 
secular attire. . . . The clergy also wore Hoods 
over their Cassocks, and so did judges, as well as 
common people, in the fourteenth and fifteenth 
centuries. Naturallv the official Hoods came to be 

c/ 

distinguished bv their material and lining. . . . 
When the wearing of wigs made a large opening 
necessary, the Hood came to draggle down the 
back and ceased to be a Hood in anything but 
name. It is now steadily recovering its proper 
shape ...” (Dearmer.) 

The Chimere ( Chimera ) is “made like a 
sleeveless Cassock open in front, and” (has been) 
“used since the fourteenth century in England, 
Italy, and elsewhere.” (Dearmer.) 

“The Cassock, though it is always worn in 
Church, is not a liturgical garment but is simply 
the ordinary outdoor dress of the clergy, retained, 
with the clothes worn under it, in the services of 
the Church.” (Dearmer.) 

Dante, who died in 1321, wore the Cassock. 

The Mozetta is “a cape with a small hood, worn 
by cardinals and bishops and the canons of many 
cathedrals,” according to Dearmer. 

Miss Hands tells us that lace dates from the 
fifteenth century. 

Dearmer goes on to say that “it is true that the 



Page Ten 


VESTMENTS AND HOW TO MAKE THEM 


Primitive vestments, the Chasuble, Dalmatic, etc., 
were also once outdoor garments, but their trans¬ 
ference to Church use has every legal sanction.” 

And we may all rest assured that while the 
origins of the Vestments seem humble and com¬ 
monplace enough, it does not detract one whit 
from their sacred character or the reverence in 


which we should hold them.* They are all right 
royal apparel, and like the garments of Aaron 
and his sons, “for glory and for beauty.” 

* See booklet called “The Gospel Vestments,” by the 
Rev. C. R. Davey Biggs, D.D., published by The American 
Catholic, 118 South Broadway, Los Angeles, California. 
(Price, 5 cents.) 




CHAPTER I 


THE CASSOCK 


T HE Cassock is the first garment donned by a 
Priest prior to any Service. 

Being in every instance made to fit the man, 
no attempt will be here made to state measure¬ 
ments or offer a pattern. The only proper person 
to employ for the making of a Priest’s Cassock is 
a good tailor. 

If choir-boys’ or acolytes’ Cassocks are to be 
made, a pattern of any desired size may be pur¬ 
chased from any reliable concern manufacturing 
dress-patterns. The Butterick patterns are as 
good as any. 

The Cassock should be ankle-length, and the 
most serviceable ones are made of stout serge. It 
is best to buy serge which is already sponged and 
shrunk; this is usually from 36 to 
54 inches wide. Black is the color 
for general wear. 


For Church services, Cassocks may be black, 
red, or violet. While serge is the customary ma¬ 
terial, cashmere, silk, poplin, or Russell cord may 
be used. Choir-boys’ and acolytes’ Cassocks may 
be lined. 

A Priest’s Cassock is always black; a Bishop’s 
is purple. A Bishop’s Cassock may, how T ever, 
have red buttons and button-holes; this is optional. 
Priests’ and Bishops’ Cassocks are unlined. Aco¬ 
lytes wear Cassocks of red or black, and some¬ 
times purple and even white. Purple is the 
proper color for cathedral choirs. Resident cathe¬ 
dral clergy wear black Cassocks with a Cincture 
of purple silk, and purple buttons and button¬ 
holes. 

The ordinary Cassock is made without a train, 
for obvious reasons. But a train 
may be worn by anybody who feels 
that he is able to manage one. 

o 



PRIEST 
in Cassock 


Page Eleven 





CHAPTER II 


THE COTTA 


T HE Cotta is in itself a badge of servitude, 

and only those who serve are the wearers of 

it. It is for the use of Acolytes, choir-boys, etc. 

The choir-bov’s Cotta is not ornamented with lace. 
«/ 

When lace is used at all, Cluny is both durable 
and handsome. Special servers may have hand¬ 
made lace if desired, but this is a personal ex¬ 
pense. 

As has been dwelt upon ere this, buy linen, 
not cotton. Handkerchief linen at about 60 cents 
per yard is good. If linen proves to be beyond 
the means of the parish, choir-boys’ Cottas may 
be allowable in cotton; but for the use of Acolytes, 
either dispense with the cotton or the Acolytes. 
Remember that the Church Services are said to 
the glory of God; and that the best is none too 
good in which to serve the Most High. Vest¬ 
ments are not wholly for the purpose of being 
looked at; they are outward symbols of the high- 
est motives of our souls: and deny not that God 
sees within and appreciates the intention. 

Very long sleeves are both cumbersome and 
ugly. It should be borne in mind that the arms 
need freedom, or an awkward effect will result. 
Hever put lace on Cotta sleeves unless for Cathe¬ 
dral servers. Besides being inartistic, lace so used 
is apt to catch on things and prove disastrous. 

If a larger Cotta than the one described is 
desired, add several inches to the length of the 
Cotta and to the neck-band. If quite a bit larger 
is necessary, fold a little extra into the width of 
the linen when cutting, both in sleeves and body- 
portion. A little experimenting with a tissue- 
paper pattern and a boy of the proper size will 
suffice to show the exact proportions needed. The 
pattern given is designed for a boy of from twelve 
to fourteen years of age. 

The given Cotta requires the following ma¬ 
terials : 

2 y 3 yds. fine white linen, 36 in. wide. 

1 yd. fine white English linen tape. 

1 spool No. 80 white thread. 

Page 


If lace is used, it takes If yards, and less of 
the linen according to the width of the lace. 

The front measurements of the pattern (body- 
portion) are as follows, allowing -J- inch for seams 


and 2 inches for the hem: 

Length down middle of front.25 in. 

Length of seam under arm.14% in. 

Length of opening slit. 614 in. 

Length of sleeve-slant .13% in. 

Width of neck before gathering.17 in. 

Width across bottom .30% in. 


The back measurements are the same as the 
front except that there is, of course, no opening 
in the back-portion. 

Measurements for the sleeve are as follows, 
making the same allowances for seams and hems 
as in the body-portion: 

Length of sleeve on fold of goods, from top 


to bottom .16% in. 

Length of slanting seam . 13% in. 

Length of curved seam . 6% in. 

Width at neck . 8% in. 

Width across bottom .24% in. 


Half of the sleeve pattern should first be cut 
from paper, and laid on the folded linen; likewise, 
half of the front pattern of the body-portion; and 
lastly, half the back. The manner of drawing 
and cutting these patterns is described on page 5. 

When the patterns are ready for use, cut the 
Cotta from the linen, being sure to place pattern 
correctly on goods so far as the length-wise of the 
linen is concerned. Cut also a band on which 
to sew the gathered neck, having same 21J inches 
long and 1J inches wide, cut lengthwise of the 
goods. 

Having cut front, back, both sleeves, and neck¬ 
band, proceed to make the Cotta as follows: 

Sew the front to the back by joining the 
under-arm seams. Make a hemmed seam, as de¬ 
scribed on page 3. ISText sew up the curved seam 
of the sleeve, and hem it down. Join the sleeve 
on to the body-portion at the slanting seam, first 
pinning and basting carefully, and then sewing, 
beginning at the under-arm seam both times, and 

T 1 velve 














VESTMENTS AND HOW TO MAKE THEM 


Page Thirteen 



CHOTR BOY 
in Cassock and Cotta 








Page Fourteen 


VESTMENTS AND HOW TO MAKE THEM 


-A/£CK 
— %'h> *' 



- - - J S' /*+- / n 



ACOLYTE’S COTTA. Front or Back—(half). 
Vi in. allowed for seams 
2 in. allowed for hem. 

Seale —% in. = 1 in. 


















l _ E - N S ~TH WISE - 1^0 L -& / £> /+ 


VESTMENTS AND HOW TO MAKE THEM 


Page Fifteen 


working toward the top. This prevents inaccu¬ 
racy. Be careful not to stretch the seam, as it 
is on the bias and may be contrary. Hem this 
seam down, after carefully basting. 

Measure 2 inches up from the bottom of both 
sleeves and body-portion, and turn and baste hems. 

-NECK- 



<r 

ACOLYTE’S COTTA. Sleeve—(half). 

% in. allowed for seams. 

2 in. allowed for hem. 

Scale—% in. = 1 in. 

If they are to be hem-stitched, draw the proper 
number of threads before basting the hems. Hem 
either blindly or do the hem-stitching, whichever 
has been provided for. 

Next, face delicately both sides of the open¬ 
ing in front; fold one side slightly over the other 
and tack firmly but invisibly. 


Gather the neck and baste it on to the neck¬ 
band, having the following spaces between seams: 

Back gathers, 8 in. long. 

Gathers at top of each sleeve, 2% in. long. 

Front gathers, 4 in. long on each side of opening. 

Sew firmly, turn band over onto wrong side, 
and fold as for a hem; baste, and hem neatly. 
Band should be ^ inch wide when finished. 

In the event of lace being used, the Cotta 
should be made as much shorter as the width of 
the lace. Never put lace of any sort around the 
neck. Reinforce the hem at bottom of Cotta by 
basting at the very edge, so that this hem will in 
no way pull when the lace is basted 011 to it. Lay 
on lace, edge to edge, having right side of lace 
facing right side of linen. Remember that lace 
shrinks when washed, more than linen does. Pin 
the lace carefully to the linen, baste, and finish 
by sewing over-and-over. Remove all bastings, 
and pull lace carefully down with fingers until 
it has the right hang, flattening the seam down 
with the finger-nail. 

In adding hangers, do not make the regulation 
loops. Cut two 3-inch lengths of fine English 
linen tape, and lay one of these flat underneath 
the neck-band at each shoulder, so that the edge 
of the band and the edge of the tape lie parallel; 
turn under the ends of the tape slightly for neat¬ 
ness, and sew firmly at each end. Thus the 
hangers lie flat when not in use; when the Cotta 
is worn they do not rise up impudently from a 
back-ground of dark Cassock. 

At each end of the neck-band sew on a length 
of tape suitable to tie; this fastens the Cotta to¬ 


gether when worn. 

When finished, the Cotta should measure as 
follows: 

Length down middle of front, and back... 23 in. 

Length of seam under arm .12% in. 

Length of opening slit . 6% in. 

(Neck-band —% in.. wide and 21 in. long.) 

Width around bottom .57 in. 

Length of sleeve-slant seam .13% in. 


SLEEVE 

Length of centre of sleeve from top to bot¬ 


tom .14% in. 

Length of curved seam . 3% in. 

Width around bottom .22% in. 


















CHAPTER III 


THE SURPLICE 


T HE Surplice, Dearmer tells us, “was never of 
course worn as a Eucharistic vestment; but 
none the less it was often worn by the celebrant 
under his Albe and Chasuble, no doubt for 
warmth, as for instance, by the Monks of St. Gil¬ 
bert of Sempringham in 1146. This is worth 
remembering, since it used sometimes to be as¬ 
sumed a few years ago that the Canons of 1604 
by enforcing the Surplice excluded the Albe; 
whereas the Surplice can, like the Rochet, be worn 
under the Albe.” 

In the American Church the Surplice is worn 
by itself without the Alb, and this excludes it 
from proper use as a Eucharistic vestment. 

There are two kinds of Surplices. One is 
called the Plain Surplice and the other the Sul- 
pician Surplice. The latter was originally adapted 
for S. Sulpice in France, and is quite a popular 
and graceful shape. It resembles the Cotta in that 
it has an opening in front, and some misinformed 
people refer to it as a “Priest’s Cotta,” but Priests 
do not wear Cottas. 

THE PLAIN SURPLICE 

The pattern here given for the Plain Surplice 
requires 54 yards of linen 36 inches wide. Other 
widths of linen would have to be figured, always 
bearing in mind that the length of the different 
portions must remain intact. A good fine linen is 
desirable. The yoke, or neck-band, is made double, 
and there are two gussets needed. 

The measurements of the front body-portion of 
the pattern are as follows, 4 inch being allowed for 
all seams, and 2 inches for hems: 


Length down centre front fold.36% in. 

Length down side.38% in. 

Width across top..23 in. 

Width across bottom.46% in. 

back : 

Length down centre back fold.38% in. 

Length down side.38% in. 

Width across top.22% in. 

Width across bottom.46% in. 


sleeve: 


Length down centre fold.29 in. 

Length down slanting side.31% in. 

Width at top.10 in. 

Width at bottom.47% in. 


gusset: 3 in. square. 



FI&. 3.. 


rLAIN SURPLICE. Front—(half). 
% in. allowed for all seams. 

2 in. allowed for hem. 

Scale—% in. = 1 in. 


Page Sixteen 






















VESTMENTS AND HOW TO MAKE THEM 


Page Seventeen 



PRIEST 

in Plain Surplice, Cassock, and Stole 







Page Eighteen 


VESTMENTS AND HOW TO MAKE THEM 


YOKE, OR NECK-BAND: 


Length down centre fold.2}4 in. 

Length of shoulder seam. 1% in. 

Width of neck at top.16 in. 

Width of bottom of Yoke.18 in. 



the remainder of the linen, after the entire pattern 
is cut. When the Surplice is all cut, cut these 
extra pieces double (the second two may be cut by 
turning the pattern the other way up), and baste 
them on (also on to sleeves) ; sew the selvedge- 
edges delicately together with an over-and-over 
stitch. Cut a tiny notch 18^ inches up from the 
bottom on each side. Cut the back in exactly the 
same manner, and also the two sleeves, with the 




t. 


* 7 S ' 


PLAIN SURPLICE. Back—(half). 
Y> in. allowed for all seams. 

2 in. allowed for hem. 

Scale —Ys in. = 1 in. 


PLAIN SURPLICE. Sleeve—(half). 
Y> in. allowed for seams. 

2 in. allowed for hem. 

Scale— Ys in. = 1 in. 


First draw and cut the pattern as described on 
page 5. 

To cut the Surplice, fold the linen exactly in 
the centre lengthwise, • and lay onto it the front 
half of the pattern; the linen will not be wide 
enough, but the extra pieces should be cut from 


exception that on the sleeves the notch is 11^ 
inches up from the bottom. 

iSText cut the yoke, which will be in four pieces 
when cut—front and back for the outside, and 
front and back for the lining. Lastly, cut the two 
square gussets. 







































Page Nineteen 


VESTMENTS AND HOW TQ MAKE THEM 


If the front is to be ornamented with em¬ 
broidery, transfer the desired embroidery design, 
placing it about 3 inches down from the top in the 
centre. Transfer to linen as described on page 5. 
Baste a strip of cambric to the top, and embroider 
with fine white D. M. C. cotton, using white darn¬ 
ing-cotton for padding if necessary. Outline work 
may be corded; that is, worked first in outline 
stitch, the outline stitch being caught up in an 
over-and-over stitch all the way back to the start¬ 
ing point. This is effective, and wears and laun¬ 
ders better than the plain outline stitch. When the 
embroidery is done, remove the strip of cambric. 

If the yoke 
is to be em¬ 
broidered, it is 
well to let the 
design run to 
within an inch 
and a half on 
each side of the 
centre, front 
and back, and 
then use a small 
cross or emblem 

of the H o 1 v 
«/ 

Trinity in the exact centre. Select a cross 
which seems to match the rest of the de¬ 
sign pretty well. 

Baste and sew the two shoulder-seams 
of the yoke together, and then baste strips 
of cambric all around the made voke, as 
recommended on page 2. 

Transfer the designs on to the yoke; 

O nJ 

do the embroidery, and remove the 
cambric. 

To make, lay the front and back por¬ 
tions together, right sides facing each 
other; baste seams at each side from the 
bottom up to the notch, 
bastings. 

Fold each sleeve to¬ 
gether, wrong side out; 
baste each side seam up 
from the bottom to the 
notch, and sew. 

Turn the sleeves 



Sew, and remove 


Fig. G—Yoke or Neck-Band 


Fig. 


right side out, and slip them into the body-portion 
(having this wrong side out), laying each sleeve’s 
slanting open seam into the slanting open seam of 
the body-portion. Exactly at the intersection of 
the seams, lay the gusset, with top and bottom 
points running up into the seams of sleeve and 
body-portion, and the side-points lying at inter¬ 
section of seams of sleeve and body-portion. First 

baste the gusset 
to the body-por¬ 
tion, and then 
to the sleeve; 
baste the rest of 
the sleeve on to 
the body - por¬ 
tion, beginning 
always at the 
gusset and 
working toward 
the top. Sew, 
making all hemmed seams; make the 
hemmed seam of the entire gusset 
first, so that it will lie flat and square. 
Turn up 2 inches around the bottoms 
of body-portion and sleeves, baste as 
for a hem, and hem. Or if hem¬ 
stitching is desired, measure 3| 
inches up from the edge and draw a 
suitable number of threads; baste, 
and hem-stitch. Sew the neck-edges 
of the outer yoke and the yoke-lining 
together; turn, and baste down flat, 
so the embroidery (if any) conies on 
the outside. 

Gather the top of the Surplice, 
and baste it onto the lower edge of 
the outer yoke, having the sleeve- 
gathers properly distributed so that 
the hang will be good at the should¬ 
ers. Sew firmly and remove bast¬ 
ings. Pin the lining 
yoke to the gathers on 
the wrong side, turn the 
edge under a half-inch, 
baste, and hem down. 

Flat hangers as de¬ 
scribed on page 13 




— - 3 in. - 



fJ tT 


PLAIN SURPLICE. 

Back or Front—(half). 
Scale—in. = 1 in. 


-Square Gusset for insertion under sleeve at point 
of juncture with body-portion. 

Scale—ti in. = 1 in. 
y> in. allowed for all seams. 








Page Trvenly 


VESTMENTS AND HOW TO MAKE THEM 


should be put at the lower edge of the yoke-lining 
on each shoulder. 

When the Surplice is finished, the dimensions 


are as follows: 

Length down centre of front (to yoke) . . . .34% in. 

Length down centre of back (to yoke).35% in. 

Under-arm seam to gusset.15% in. 

Sleeve-seam to gusset. 8% in. 

Seam where sleeve is inserted, from gusset 

to yoke.35 in. 

Length of sleeve down centre fold (to yoke)26% in. 

Length of yoke around top edge.30 in. 

Length of yoke around bottom edge.34 in. 

Width of yoke at shoulder seam. 1 in. 

Width of yoke at centre of front and back. 1% in. 


THE SULPICIAN SURPLICE 

First draw and cut the patterns as described 
on page 5. 

The Surplice will take 5 yards of fine white 
linen, 30 inches wide. 

The measurements of the body-portion of the 
pattern are as follows, 4 inch being allowed for all 
seams, and 2 inches for hem: 

Length down centre fold (front and back) .38% in. 


Length down each side.38% in. 

Width at top (and bottom also).23 in. 

sleeve: 

Length down centre fold.21% in. 

Length of side seam. 9 % in. 

Length of slanting seam.18% in. 

Width of bottom.18% in. 

Width of top. 4% in. 

NECK-BAND: 

Length.26% in. 

Width. 1% in. 


If Gusset is used, cut two 3 inches square, as 
for Plain Surplice. 

Cut as follows: first fold the linen lengthwise 
through the centre, and lay the pattern onto it. 
Cut the front and back first, then the two sleeves, 
and lastly the neck-band. The front and back and 
two sleeves will have to be pieced at each side, but 
cut the large portions first, and cut the Neck-band 
and the extra pieces from the remaining fresh 
length. 

Cut a tiny notch on each side of the front and 
back, 20 inches up from the bottom edge. Slit 
the centre of the front S inches down from the top 
edge in the centre. 

The Sulpician Surplice is never embroidered. 


To make, lay the front and back together, 
wrong side out, and baste the side seams up from 
the bottom edge to the notch. Fold the sleeves 
wrong side out; baste, and sew the side-seam of 
each one. Turn right side out, and insert as de¬ 
scribed on page 16 for sleeves of Plain Surplice. 


— NECK — Z 3 in 



. 2 . 

SULPICIAN SURPLICE. Back or Front— (half). 

% in. allowed for all seams. 

2 in. allowed for hem. 

Scale—% in. = 1 in. 

If a Gusset is to be used, proceed as already de¬ 
scribed on page 16. Make hemmed seams, as de¬ 
scribed on page 3. 

If the bottom hems are to be hem-stitched, 
measure 3f inches up from the bottom edges, and 





































VESTMENTS AND HOW TO MAKE THEM 


Page Twenty-one 


draw a suitable number of threads; turn up hems, sew a length of white English linen tape (line), 
baste, and hem-stitch. If not to be hem-stitched, suitable to tie. Or a fine white linen cord may be 
turn up 2 inches from the bottom edges for hems, used, both free ends being finished with a small 
baste, and hem with a blind stitch. tassel. These ties fasten the Surplice together 

Face the front slit delicately, lay one edge when worn. 

t 7.0 \ 



SULPICIAN SURPLICE. 
Neck-band (entire), and Sleeve (half). 
*4 in. allowed for all seams. 

2 in. allowed on sleeve for hem. 
Seale—% in. = 1 in. 


slightly over the other at the lowest end, and tack 
firmly but invisibly. 

Gather the top edge and baste it onto the 
neck-band, arranging the gathers so that the Sur- 
plice will hang well. Sew firmly, and remove 
bastings. Fold neck-band lengthwise along the 
centre over onto the wrong side of the Surplice, 
and pin; turn the edge under, baste, and hem 
down. 

Place flat hangers under the neck-band at each 
shoulder as described on page 1.3. 

Onto each end of the neck-band (in front) 


When finished, the Surplice measures as fol¬ 
lows, including neck-band: 

Length down centre of front (or back) .. . .36% in. 
Length of under-arm seam (without 

gusset) .18 in. 

Length of seam where sleeve is inserted. . . 3514 in. 

Width around bottom.44 

Length of slit down front. 8 

Length of sleeve down centre fold.19% in. 

Width around bottom of sleeve.35% in. 

Width of neck-band (included in above 

measurements). y 2 in. 

Length of neck-band.2514 in. 


in. 

in. 

























CHAPTER IV 


THE ALB 


T HE Alb is worn over the Cassock and Amice, 
and is made of linen, not too thin. Miss 
Hinda M. Hands, in her book on Church Needle¬ 
work, tells us that “Albes were at one time occa¬ 
sionally made of silk, and sometimes were even 
coloured.” She goes on to say that “perhaps the 
red and blue cassocks sometimes to be seen nowa¬ 
days may justify their existence by the example 
of these coloured albes frequently mentioned in 
old documents and depicted in illuminated MSS.” 

To-day’s Alb is always of pure white, both as 
to material and embroidery, and is worn girt about 
the waist with a white linen cord or Girdle. It 
is certainly a typical “white shining vestment of 
fine linen common to all clergy.”—(Council of 
Narbonne A. D. 580.) 

Appareled Albs will not be here treated of. 
In Classical times a dark stripe, the Clavus, orna¬ 
mented the Alb on either side; later, when the 
Alb became an undergarment to the Dalmatic, 
these stripes ceased to show, and so were no longer 
used. In the eleventh and twelfth centuries it 
beeame customary to put an ornamental border 
clear round the bottom hem and round the wrists; 
this was later reduced to two short pieces at the 
hem and one at each wrist. 

The Alb here described requires the following 
materials: 

7 yds. fine white linen (not too thin). 

1 spool No. 80 white thread. 

3 in. of English linen tape. 

2 %-in. pearl buttons 

If the Alb is to be embroidered, a number of 
skeins of fine white D. M. C. embroidery cotton 
will be needed, and also a spool of white darning 
cotton for padding. 

The measurements of the body-portion of the 
pattern are as follows: 


Length down centre front.57 in. 

Length down centre back.•.00% in. 

Length down side seam.46 in. 

Page 


Around neck—front . 6 in. 

Around neck—back . 3% in. 

Length of shoulder. 7% in. 

Width of bottom.46 in. 

sleeve: 

Length down centre fold.24% in. 

Length of side seam.20% in. 

Top.27% in. 

Width of bottom.14% in. 

FINISHING PIECE FOR LEFT SIDE OF FRONT OPENING: 

Length.25 in. 

Width. 3% in. 


GUSSET: 5 in. square. 

The Alb should be ankle-length when finished. 
For a very tall or a very short man, the length 
would have to be altered accordingly. 

First draw and cut all portions of the pattern 
as described on page 5. 

To cut the Alb, fold linen exactly in the centre 
lengthwise, and lay onto it the pattern. Cut front, 
back and two sleeves. The goods will not be wide 
enough, so cut the extra pieces from the remain¬ 
ing length. It is best to cut these extra pieces 
double each time, thus making two of each, exactly 
alike. Baste pieces on, selvedge edges together, 
and sew delicately with an over-and-over stitch. 

Next cut the finishing piece for the left side 
of front opening, and the two gussets. Also cut 
a strip of linen 25 inches long and 2 inches wide, 
with which to bind the right side of the front 
opening; this should be length-wise of the linen. 

To make, lay the front onto the back, right 
sides together; baste the two long side seams to 
within 4 inches of the arm-hole, and sew. Baste 
the two shoulder seams, and sew, making a 
hemmed seam as described on page 3. 

Turn Alb right side out, and bind the right 
side of the front opening with the 2-inch strip. 
This is really a facing, except that it leaves the 
width of the seam free instead of this width being 
turned under. 

Onto the left under-side of the opening slit, 
lay the side of the finishing-piece having no point; 

T n>enty-tv>o 















LENGTHWISE- FOLD — 5*7,) 


VESTMENTS AND HOW TO MAKE THEM 


Page Trventy-lhree 



Jt. 

ALB. Front—(half), 
in. allowed for all seams. 
2 in. allowed for hem. 

Scale —% in. = 1 in. 




Xj. 43 . 

ALB. Back—(half). 


*4 in. allowed for seams. 
2 in. allowed for hem. 
Scale— y s in. = 1 in. 


IP 






































































Page Twenly-four 


VESTMENTS AND HOW TO MAKE THEM 



./3. 

ALB. Sleeve—(half). 

*4 in. allowed for seams. 

2 in. allowed for hem. 

Scale —14 in. = 1 in. 

baste and sew. Flatten it out even with the front, 
and fold over at dotted line onto the outside; turn 
under as for a hem (edges of point also), baste, 
and sew with delicate stitches all around the piece; 



sew straight across the point also, about ^ of an 
inch from the edge. 

Cut a bias strip 1^ inch wide and as long as is 
needed to face the neck. Baste onto neck, being 
careful not to stretch edges, and face down neatly. 

Turn up Alb 2 inches around the bottom; 
baste for the hem, and hem. 

If bottom of Alb is to be embroidered, trans¬ 
fer design to bottom of Alb just above the hem. 



S',, 





./4 

ALB. 

Fig. 14—-Finishing-piece for Front Opening—(entire). 

Fig. 15—Gusset—(entire). 

Scale— y 8 in. = 1 in. 

as described on page 5. Baste a strip of cambric 
about 8 inches wide on to the edge of the hem 
(page 2). It is best to leave bastings in the 
hem until the embroidery is finished. For em¬ 
broidering, use fine white 1). M. C. cotton; for 
padding, use four strands of white darning cotton 
(or crochet-cotton) in chain-stitch. Use a large 
embroidery hoop. 

To make sleeves, fold over wrong side out; 
baste seam to within 4 inches of top, and sew. 























































VESTMENTS AND HOW TO MAKE THEM 


Page TTvenly-five 


Turn up 2 inches from the bottom for a hem; 
baste and hem. 

If embroidery has been done on the bottom of 
the Alb, use a corresponding border just above the 
sleeve-hem. 1 ransfer design to sleeves, and em¬ 
broider before inserting sleeves into body-portion. 

When embroidery is finished both on body- 
portion and sleeves, insert sleeves. To do this, 
have Alb wrong side out, and sleeves right side 
out. Have the sleeve-seam exactly even with 
under-arm seam of body-portion. Gather sleeve 
around top to within 4 inches of seam both ways, 
and arrange gathers evenly so that when sleeve is 
sewed in it will not be perceptibly gathered. 

Baste in gusset, as described on page 16. Fin¬ 
ish basting in sleeve, and sew. Make hemmed 
seam all around gusset first; then make hemmed 
seams where sleeves are inserted, hemming over 
onto body-portion instead of into the sleeve. Also 
make hemmed seams of the two long side-seams 
of body-portion, and sleeve-seams. 


Work a cross-wise buttonhole (for 4-inch but¬ 
ton) at the top of the left-hand side of the front 
opening, and another 6 inches lower down. Sew 
buttons on to opposite side. 

Fasten flat hanger of English linen tape on to 
the facing of the neck, at the back and in the 
exact centre as described on page 13. 

Remove all bastings. 

When finished, the measurements of the Alb 
should be as follows: 


Length down centre front.54*4 in. 

Length down centre back.58% in. 

Length of side seam, to gusset.40 in. 

Length of shoulder seam. 6% in. 

Width around bottom.90 in. 

Around neck.18% in. 

Length of sleeve on centre fold.22% in. 

Length of sleeve seam, to gusset.14% in. 

Width around bottom of sleeve.13% in. 

Length of front opening.23 in. 


If strips of cambric have been basted onto 
edges of sleeves and bottom hem before embroider¬ 
ing, remove same. 















CHAPTER V 


THE ROCIIET 


D EARLIER tells ns that “in times as early 
as the ninth century we find traces of a 
Rochet, a tunic or camisia worn as a kind of linen 
cassock under the other vestments; and one of the 
Canons of King Edgar (959—975) orders clerics 
not to come into church without an ‘overslip,’ 
which was the same thing. But the word ‘Rochet’ 
(which is a diminutive of ' voccus '), and the dis¬ 
tinctive use of the garment, belong to the twelfth 
and thirteenth centuries. The fourth Lateran 
Council (1215) ordered prelates to wear the 
Rochet in public and in church, unless they were 
monks, and thus it became everywhere a sort of 
episcopal linen cassock, worn out of doors and cov¬ 
ered with other vestments in church. It was . . . 
a mark of bishops and certain other privileged 
persons; but in this use it . . . is . . . hardly 
a liturgical vestment at all, but only a personal 
mark of distinction. ...” 

In the American Church, however, the Rochet 
is worn by bishops and deans, not under the other 
vestments (except by the bishop, who wears the 
Chimere over it; and by a dean or a bishop, who 
wear the Mozetta over it), but by itself, as a 
Surplice would be worn. In fact, bishops and 
deans do not wear the Surplice; they wear the 
Rochet instead. 

The Rochet is of fine white linen, resembling 
the Alb in that it has close sleeves, and the Sul- 
pician Surplice in that it is gathered and is about 
the same length. 

Some Rochets are made with yokes, and some 
without, according to individual taste. Those 
without yokes are furnished with a narrow casing 
at the neck, through which a linen tape is run to 
gather them up, thus being tied together when 
worn. Sometimes the Rochet is made to open on 
the left shoulder, fastening there with two or three 
buttons and buttonholes. Any of these differing 
patterns can be made by reconstructing the given 


pattern to suit requirements. The one opening 
on the shoulder will require -J yard more of 36- 
inch linen than the one here given. 

The Rochet here described is perhaps the best, 
being made with a yoke and designed to open in 
front like an Alb. If one desires a longer front 
opening, merely slit the body-portion farther 
down, and allow a longer facing and binding- 
piece. It is merely a question of convenience, as 
is also the gusset. 

The Rochet here given requires the following 
materials: 

5 yds. fine white linen, 30 in. wide. 

1 spool No. 80 white thread. 

3 in. fine white English tape. 

2 i4-in. pearl buttons. 

If to be embroidered, a number of skeins of 
fine white D. M. C. embroidery cotton will be 
needed; also a spool of white darning cotton for 
padding, or a ball of white crochet-cotton. 

The yoke is made double. 

The measurements of the body-portion of the 
pattern are as follows, ^ inch being allowed for 
seams and 2 inches for hems: 


Length down centre fold, front or back.... 39 in. 
Length of side seam.27% in. 


Length of front opening slit.15 in. 

Width across top, front or back.41% in. 

Width across bottom, front or back.46 in. 


yoke : 

Neck, front.14 in. 

Neck, back. 9% in. 

Length of shoulder seam. 5% in. 

Length of side seam. 4 in. 

Length down centre fold, front. 2 in. 

Length down centre fold, back. 4% in. 

Width across bottom, front.18 in. 

Width across bottom, back.17 in. 

sleeve: 

Width around top.24 in. 

Width around bottom.19 in. 

Length of side seam.20 in. 

Length down centre fold.25% in. 


First draw .and cut all portions of the pattern 
as described on page 5. 


Page Tivent^-six 




















VESTMENTS AND HOW TO MAKE THEM 


Page Tn>enly-seven 


To cut, fold linen lengthwise in the exact 
centre, and lay onto it" the pattern. First cut the 
front and then the back, as far as the width of 
the linen will allow; then unfold the linen and 


- TOP - 



ROCHET. Front or Back—(half). 

% in. allowed for seams. 

2 in. allowed for hem. 

Scale —% in. = 1 in. 

cut the two sleeves flat. Then cut from the folded 
fresh length, the hack yoke, double. 

From the last length, cut the four extra pieces 
needed to piece the back and front to the required 
width; and also cut the double front yoke, which 


will be in four pieces, as the front yoke is slit in 
the centre so that the Rochet opens in front. 

From the linen left at the side where the two 
sleeves have been cut out, cut a facing-piece for 
the left front (like Fig. 14, except that the one 
for the Rochet is cut 18 inches long), and a length¬ 
wise strip for binding the opposite side (18 inches 
long and 2 inches wide). 

To make, first piece the extra widths onto the 
front and back, as described on page 19. Then 
lay front and back together, right sides facing 
each other, and baste side seams; sew, and make 
hemmed seams as described on page 3. Turn 
up 2 inches from the bottom for a hem; haste 
and hem. If the Rochet is to he embroidered, 
select the designs and transfer to bottom of Rochet 
just above the hem, as described on page 5. 
Baste an 8-inch strip of cambric to the edge of 
the hem (page 2) and embroider, using fine 
white D. M. C. embroidery cotton, and four 
strands of white darning cotton (or white crochet- 
cotton) for padding. A large embroidery hoop 
is best. When the embroidery is finished, remove 
cambric and bastings from hem. 

Baste (through the middle) the double back 
of yoke together, and also the two double front 
portions; then lay front portions onto back por¬ 
tion, and baste shoulder seams; sew, and make 
hemmed seams. 

Gather top of body-portion (as far as the arm¬ 
holes) ; baste onto outer yoke, and sew firmly. 
Bring the yoke-lining down over the seam and 
turn as for a hem; baste, and hem down. Run a 
basting around the yoke armhole and the neck. 

Finish the front opening as described on page 
19; also make button-holes and sew on buttons 
as described on page 22. Cut a bias strip 14 
inches wide and face the neck. 

Fold sleeve wrong side out and baste seam; 
sew, and make hemmed seam. Turn up 2 inches 
from the bottom, and baste for a hem; hem, and 
remove bastings. The Rochet sleeve is never em¬ 
broidered. 

To insert the sleeve, first gather it around the 
top. Insert in the arm-hole, easing the gathers, 




















Page Tweniy-eighl 


VESTMENTS AND HOW TO MAKE THEM 



Jyj. 


ROCHET. Front of Yoke—(half). 
14 in. allowed for seams. 

Scale —14 in. — 1 in. 



Q 

-si 

5 

I 

Uf 

to 

k 

5 

C5 

£ 

Ui 

ss| 




ROCHET. Back of Yoke—(half), 
in. allowed for seams. 
Scale—in. = 1 in. 























































VESTMENTS AND HOW TO MAKE THEM 


Page Twenly-nirie 





ROCHET. Sleeve—(entire). 
y> in. allowed for seams. 

2 in. allowed for hem. 
Scale— x /4 in. = 1 in. 



































Page Thirl p 


VESTMENTS AND HOW TO MAKE THEM 


and having the sleeve-seam a little to the front of 
the body-portion seam, to give the right hang; 
baste, sew, and make a hemmed seam as described 
on page 3. 

If a gusset is used, cut a 5-inch one (Fig. 15) 
and insert as described on page 16, sleeve-seam 
coming exactly opposite body-portion seam. 

Fasten flat hanger of fine English linen tape 
on to the facing of the neck in the exact centre of 
back, as described on page 13. 


When the Rochet is finished the measurements 

should be as follows: 

Length of centre fold (with yoke), front. .37% in. 
Length of centre fold (with yoke), back.. .39% in. 


Length of side seam.2514 i n - 

Width around bottom.90 in. 

Around armhole.29 in. 

Around neck.25% in. 

Length of opening slit.16 in. 

Length of shoulder seam. 4% in. 

Length of sleeve on centre fold.22% in. 

Length of sleeve seam.17% in. 

Width around bottom of sleeve.18 in. 














CHAPTER VI 


THE GIRDLE 


T HE Girdle dates from the most primitive 
times, as it was used to confine the tunic at 
the waist. As this was necessary for convenience, 
it is really quite impossible to determine at what 
stage of man’s existence upon the earth the wear¬ 
ing of some sort of a girdle began. 

The Girdle is crocheted, and is really a hollow 
tubing. 

The material necessary is one box (one dozen 
spools) of white linen crochet thread. The best 
way to obtain this is to send to the Convent of the 
Holy Nativity, Fond du Lac, Wisconsin, for one 
box of linen crochet thread for making Girdles. 


It will cost one dollar. Indeed, this is the only 
place of which the author is aware where the 
proper thread can be purchased. 

To make the Girdle, take two spools at a time, 
thus using the thread double. First make six 
stitches of simple chain-stitch, and catch together 
to form a circle; then with single-stitch go round 
this circle, and keep on circling round and round 
until all the thread in the box is used. Fasten 
thread firmly at' both ends. 

Tie a heavy knot at each end, to form a sort 
of ball. 

This finishes the Girdle, and it is ready for use. 


Page Thirty-one 


CHAPTER VII 


TIIE AMICE 


D EARLIER speaks of the Amice is this wise: 

“The Amice ( Amictus ) is . . . worn 
round the neck to keep the outer vestments from 
contact with the skin and to till up the gap that 
is necessarily left hv vestments which ... 2:0 
over the head. It is thus a kind of short linen 


THE FRENCH AMICE 

The materials needed for the French Amice 
are as follows: 

i/> yd. fine white linen, 3G in. wide. 

1 bolt fine white English linen tape. 

1 spool No. 80 white thread. 

1 skein fine white D.M.C. embroidery cotton. 

A little white darning cotton (for padding crosses). 





FRENCH AMICE. (Entire.) 
14 in. allowed for hems. 
Scale —Ys in. = 1 in. 


scarf—a neck-cloth that was indeed part of the 
secular dress of ancient tinles. ,, 

There are four kinds of Amices in common 
use—or rather, the Amice of to-day is made in 
four differing ways: the limp or French Amice, 
the Appareled Amice, the Amice with Insert, and 
the Amice with Stiffened Collar. The limp or 
French Amice is undoubtedly the most primitive; 
the Appareled Amice appeared during the twelfth 
century; the Amice with Insert is a sort of a com- 
bination of the first two, being made all of white 
linen, but having its collar stiffened by inserting 
a strip of white celluloid. The Amice with Stiff¬ 
ened Collar is to all intents and purposes the same 
as the Amice with Insert. 


The measurements of the pattern, allowing 
^ inch for hems, are: 

Length.1G in. 

Width.3G in. 

Draw and cut pattern as described on page 
5. Lay it on the linen, and draw threads to de¬ 
termine top and bottom edges. Cut. 

To make, turn a very narrow hem all around 
the Amice; baste, and hem. I 11 each corner, as 
indicated 011 the pattern, work a small eyelet. 

Baste onto the upper and lower edges an 
8-inch stript of cambric (page 2), and transfer 
(page 5) a very small square cross to the centre 
of each edge (4 inch from hem) as indicated in 
pattern. Pad crosses sparingly with two strands 


Page Thirty-inx) 









VESTMENTS AND HOW TO MAKE THEM 


Page Thirl])-three 


of white darning cotton, and embroider with tine 
white D. M. C. embroidery cotton, using em- 
broidery hoop. 

Cut two lengths of the tape, each 5 feet, G 
inches long. Tie a firm knot in one end of each 
length, and slip the tape through the two eyelets 
on the corners opposite either cross. 


THE AMICE WITH INSERT 

The Amice with Insert requires the following 
materials: 

% yd. fine white linen, 36 in. wide. 

1 bolt fine white English linen tape. 

1 spool No. 80 white thread. 

Some skeins fine white D.M.C. embroidery cotton. 
1 spool white darning cotton. 

1 strip white celluloid, 2% in. wide x 16% in. long. 



<c-CJ <2 /. 


/ 2>n. 



AMICE WITH INSERT. 


Fig. 21—Cape-portion—(entire). 

Fig. 22—Collar, to be folded on dotted line—(entire). 
% in. allowed for seams and hems. 

Scale—% in. = 1 in. 


When the upper edge of the Amice becomes 
soiled the tapes are slipped into the two lower 
eyelets instead, and the Amice used the other 
way up. 

When the Amice is laundered, the tapes are 
removed and done up separately, and then slipped 
back. 

When finished, the correct measurements are: 

Length.15 in. 

Width.35 in. 


The measurements of the pattern are as fol¬ 
lows, i inch being allowed for seams and hems: 


Length.16 in. 

Width.36 in. 

Length of collar piece. 7 in. 

Width of collar piece.18 in. 


(The length is so given because it is cut lengthwise of 
the linen.) 

Draw and cut both portions of the pattern 
as described on page 5. Lay onto linen and 
cut out. 


























Page Thirty-four 


VESTMENTS AND HOW TO MAKE THEM 


Baste a very narrow hem around the bottom portion, i bis will insure the embroidery being 
and two sides, and hem. Next, baste a tiny hem right-side-up when Amice is finished. Transfer 
at each end of the collar-portion, and hem. Baste the design to collar as described on page 5. Em¬ 
ail 8-inch strip of cambric onto all four sides of broider, using fine white D. M. C. embroidery 




2 , 3 . 




2 , % 


I 



Z5~. 

AMICE WITH STIFFENED COLLAR. 

Fig. 23—Cape-portion— (entire). 

Fig. 24—Collar-portion—(entire), to be folded on dotted line. 
Fig. 25—Inter-lining—(entire), to be cut double. 
y~> in. allowed for seams and hems. 

Scale —Ys in. = 1 in. 



collar as described on page 2. For embroidering, 
use a simple design with a small cross in the 
exact centre; or a small figure, such as a fleur-de- 
lis, repeated in one straight length. Have the 
bottom edge of the embroidery design facing the 
dotted line running through the middle of collar 


cotton for embroidering, and four strands of white 
darning cotton (chain-stitch) for padding. When 
embroidery is finished, remove cambric and 
bastings. 

Lay the centre of the unembroidered edge of 
the collar-portion, wrong side up, onto the centre 


















VESTMENTS AND HOW TO MAKE THEM 


Page Thirly-five 


of the unhemmed edge of the Amice, right side up. 
Baste seam, and sew firmly. Fold collar (on 
dotted line) over seam, and baste down. 

Cut an 11^-ft. length of the tape, and get the 
exact centre. Place this centre exactly on the 
centre of the seam between collar and cape-portion. 
Baste along entire top for a facing, turning the 
raw edges of both loose ends of linen in under the 
tape. Hem tape down delicately on both edges, 
and make an extra firm fastening at each of the 
two corners. 

After the Amice has been laundered, slip into 
the collar the strip of celluloid for stiffening. This 
strip is of course always removed when the Amice 
is laundered. The celluloid being in, the collar 
is then folded back. 

When finished, this Amice measures as 


follows: 

Length.15 in. 

Width.35 in. 

Length of collar.17 in. 

Width of collar. 3 in. 


THE AMICE WITH STIFFENED COLLAR 

The materials required for the Amice with 

Stiffened Collar are as follows: 

% yd. fine white linen, 3G in. wide. 

3 in. heavy white linen, 30 in. wide. 

1 bolt fine white English linen tape. 

1 spool No. 80 white thread. 

Some skeins of fine D.M.C. embroidery cotton 
(white). 

1 spool white darning cotton for padding. 

The measurements of the pattern are as fol¬ 
lows, allowing T inch for seams and hems: 


Length.16 in. 

Width.30 in. 

Length of collar. 7 in. 

Width of collar.18 in. 

Length of interlining. 3 in. 

Width of interlining.18 in. 


(The length is so given because of the proper length¬ 
wise of the linen.) 

First draw and cut all portions of pattern as 
described on page 5. 

Cut the cape-portion of the Amice, and then 
the collar. Next cut the interlining double from 
the heavy linen. Turn a very narrow hem around 
the cape-portion on the bottom and two sides. 
Baste and hem. 

Next, onto the collar-portion transfer an em¬ 
broidery design as described on page 5. Be sure 


to have the bottom edge of the embroidery design 
facing dotted line of collar-portion. This brings 
embroidery right side up when Amice is finished 
and collar folded back. Baste 8-inch strips of 
cambric onto the four edges of the collar as de¬ 
scribed on page 2. Embroider with fine white 
I). M. C. embroidery cotton, using four strands 
of white darning cotton for padding. Use a large 
embroidery hoop. When embroidery is finished, 
remove cambric. 

Baste the two strips of interlining together so 
that they will not slip, using no knots in thread. 
Lay collar fiat, wrong side up, and on to the un¬ 
embroidered half lav the interlining. Baste firmlv. 
Then along the edge near the centre of the collar, 
catch the interlining through on to the collar, 
firmlv but invisibly. This is so the interlining 
will not double up or lump when Amice is washed. 

Fold collar on dotted line so that the two right 
sides lie facing each other; this will show the 
embroidery’s wrong side on one side, and the inter¬ 
lining on the other. Baste the two end seams, 
and sew firmly. Remove all bastings, turn the 
collar right side out, and baste it together flat. 

Lay the collar (embroidery-side up) on to 
cape-portion (also right side up) so that the raw 
edges lie together; have exact centres of raw edges 
together. Baste the seam, and sew firmly. This 
will leave the entire top edge raw. Turn in edge 
of each loose end (on cape-portion) ^ inch, and 
baste down all across the top. Cut an llA-ft. 
length of the tape, and baste along the entire top 
edge of the Amice (centres together) so as to form 
a facing. Hem tape down on both edges. 

When finished, the measurements of this Am¬ 
ice are as follows: 


Length.15 in. 

Width.35 in. 

Length of collar.17 in. 

Width of collar. 3 in. 


TIIE APPARELED AMICE 

The Appareled Amice is most gorgeous, and 
the very first instance that can be found of gold- 
work being put onto an Amice dates from the 
tenth century. “In the twelfth century this dec¬ 
oration took the form of a strip of material which 
is called the apparel ( parura ).”—(Dearmer.) 

The cape-portion is of linen; the collar is made 


















Page Thirty-six 


VESTMENTS AND HOW TO MAKE THEM 


of richly embroidered silk, with a limns: of the 
same, stiffened with tailor’s canvas. It may be 
made to match the Chasuble set, hut is usually 
by itself. 

The cape-portion and the collar are made quite 
separate, being only tacked together. These two 


The Appareled Amice requires the following 
materials: 

V> yd. fine white linen, 36 in. wide. 

1 spool No. 80 white thread. 

1 bolt fine white English linen tape. 

14 yd. heavy silk (of the desired color), at least 21 
in. wide. 

1 spool silk to match. 


3t>;, 




APPARELED AMICE. 

Fig. 26—Cape-portion—(entire). 
Fig. 27—Collar-portion— (half). 

V> in. allowed for seams and hems. 
Scale —Vs in. = 1 in. 


portions are taken apart when the Amice becomes 
soiled, and the cape-portion is washed as usual. 
Of course the collar, being silk, is never washed 
any more than other silken Vestments. After the 
cape-portion has been laundered, the collar is again 
tacked on. If a parish uses Appareled Amices, 
it will be found necessary to have a different- 
colored Apparel for each season, to match the 
other Vestments in color. 


4 in. tailor’s canvas (heavy). 

Embroidery silks and gold thread as needed. 

1 spool yellow silk. 

The measurements of the pattern are as fol¬ 
lows, 4 inch being allowed for seams and hems: 


Length.16 in. 

Width.36 in. 

Length of collar. 8 in. 

Width of collar.21 in. 

Length of canvas interlining. 3% in. 

Width of canvas interlining.21 in. 


(The measurements are so given on account of the 
proper lengthwise of materials.) 




















VESTMENTS AND HOW TO MAKE THEM 


Page Thirty-seven 


The pattern for the canvas interlining is not 
illustrated, as measurements are sufficient by 
which to cut such a pattern. 

First draw and cut all portions of the pattern, 
as described on page 5. 

Cut the cape-portion from the linen, and baste 
narrow hem around bottom and two sides. Hem, 
and remove bastings. Face the top with an llA-ft. 
length of the tape, centre to centre. This finishes 
the cape-portion. 

Cut collar double on crosswise fold of silk. 
Transfer embroidery design onto silk as described 
on page 5. Be sure to have the top edge of the 
embroidery design facing the top edge of the silk, 
so that the embroidery will be the right way up 
when the Amice is worn. 

The spool of yellow silk is for use in couching 
on gold thread. Designs are good done in colored 
silks outlined with one or more rows of gold 
thread. Baste strips of cambric on all four sides 
(page 2), and use a very large embroidery hoop; 
or put it into an embroidery frame (page 2) if 
much gold work is to be done, and embroider 
through unbleached linen. The embroidery-frame 
is much to be preferred in this case. 

When the embroidery is finished, remove strips 
of cambric; or if done in a frame, remove from 
frame and trim linen straight with centre line 
and outer edges (do not trim it right up to ir¬ 
regular edges of embroidery). 

Lay the embroidered silk wrong side up, and 
lay onto the embroidered half the strip of tailor’s 
canvas. Baste it onto the silk, with knots on the 
right side of silk. Fold over the unembroidered 
portion of collar so that it faces the embroidered 


portion; this will bring it so that the canvas will 
show on one side and the wrong side of the plain 
portion of the collar will show on the other side. 
Baste seams at both ends, and sew firmly with 
matching silk, using a back-stitch. Or make a 
felled seam. Turn collar right side out, and baste 
fiat. Over the raw edge of the canvas fold the 
raw edge of the silk from the embroidered side 
of the collar, and baste down. Then turn in edge 
of silk lining, baste, and hem down with match¬ 
ing silk. 

There is another way of putting the collar to¬ 
gether. This is to cut the strip of canvas 1 inch 
shorter than the measurements given heretofore; 
it is then basted onto the embroidered half, and 
the three edges of silk are then turned in over it 
and hemmed down; then the plain half is folded 
over it, basted, the edges turned in and basted, and 
then hemmed down on the three sides. In this 
way the canvas is not fastened through, and may 
not stay perfectly in place, as when it is sewed in 
at each end along with the silk. Remove all 

o 

bastings, and the collar is finished. 

Turn the finished collar wrong side up, and 
lay the cape-portion (right side up) so that the 
taped edge laps just a trifle over the top edge of 
the silk collar. Tack on all along, and fold the 
collar back. 

When finished, the measurements of this Am¬ 
ice are as follows: 

Length.15 in. 

Width.35 in. 

Length of collar.*20 in. 

Width of collar. 3 in. 

If desired, the collar may he made an inch 
or so wider without violating regulations. 







CHAPTER VIII 


OX LITURGICAL COLORS AND SYMBOLISM 


I K the middle ages, there was no such hard and 
fast rule about the various shades and tints of 
colors as we now have. For example, when the 
rubric ordered black, it was thought to be followed 
if violet, or purple, or even blue, was used. So 
with green; it was considered to be liturgically 
the same as yellow; both were therefore employed 
after Trinity and for Confessors’ days. 

“Certain colors are used for certain times: 
white, on the Feast of the Consecration or Dedi¬ 
cation of a church; but the color for the festival 
of the patron saint of a church is simply the color 
of the Saint’s day; if an Apostle, Evangelist, or 
Martyr, red; if a Confessor, yellow or green; if 
a Virgin, white; if the Virgin be a Martyr, some 
dioceses used white mingled with red. White is 
the color for the administration of Baptism and 
Confirmation, for Marriage, and Churching of 
women. Violet, for the Visitation and Commun¬ 
ion of the Sick and the Commination Service, and 
other penitential offices. Black or violet, for the 
Burial of the dead. White may be used for the 
Burial of children under 7 years of age.” (Vernon 
Staley in “The Catholic Religion.”) 

The following is taken from “The Church¬ 
man’s Ready Reference,” by the Rev. A. C. 
Ilaverstick: 

“Intimately connected with ecclesiastical art 
is Church symbolism, occurring as it does em¬ 
broidered upon vestments, wrought into stones, 
carved on altars, and engraved on sacred vessels. 
Many of the designs are of extreme antiquity, and 
are found in the catacombs, where the Christians 
of the first three centuries were wont to conceal 
themselves from their heathen persecutors. Many 
of them were used as masonic emblems are now, 
the meaning only being known to the initiated. 
We may thus regard them as another characteristic 
of the historic Church, together with her line of 
Bishops, her liturgy, her sacred seasons and her 
vestments. Some are here described: 


“A ft 

“A ft (Alpha, Omega) are derived from Rev. 
i: 8; they are the first and last letters of the Greek 
alphabet, thus expressing two ideas, the eternity 
of Christ’s existence, and also Ilis title, the ‘Word 
of God’; for all spoken and written language is 
encompassed between the first and last letters of 
the alphabet. 

“chi rho. 

“Chi Rho is equivalent to the first two letters 
(XP) of the word Christ in Greek. It sur¬ 
mounted the labarum or banner of Constantine 
after his conversion. The cross of one of the let¬ 
ters is appropriately Christian. Frequently the 
two letters appear crosswise as a monogram. 

“the fish. 

“The fish is one of the oldest Christian sym¬ 
bols known. It refers to our spiritual birth in 
Baptism, and of the worldly profession of the 
first disciples, who were made fishers of men. The 
letters of the Greek word fish, IXO'I'S (ichthus) 
are the initials in the same language for the words 
meaning ‘Jesus Christ, God’s Son, Saviour.’ 
Tertullian in the second century mentions this 
acrostic. I H S are the first three letters of Jesus 
in Greek. It is incorrect to apply them to the 
Latin in hoc signo (in this sign), or to the initials 
of the Latin words meaning ‘Jesus, the Saviour 
of men.’ 

“a triaxgle. 

“A triangle or three leaf clover is emblematic 
of the Trinity. 

“a siieaf of wheat axd buxcii of grapes. 

“A sheaf of wheat and bunch of grapes rep¬ 
resent the Eucharist. 

“the dove. 

“The Dove is sacred to the Holy Spirit (St. 
Matt, iii: 1G). 


Page Thirty-eighl 


VESTMENTS AND HOW TO MAKE THEM 


Page Thirty-nine 


THE PELICAN. 

‘‘The pelican is a symbol of the Holv Com- 
munion. It was an ancient tradition that this 
bird plucked the flesh from its own breast, to feed 
its young in the nest (St. John vi: 51). 

“the phoenix. 

Ihe Phoenix is a symbol of the Resurrection. 
It was fabled to live single, and at the end of a 
thousand years to die and rise from its own ashes. 

“the peacock. 

“The Peacock is very often used in Christian 
decorations. Examples exist from the first cen¬ 
tury. It also symbolizes the Resurrection from 
its annual moulting and renewing its feathers. 
Its flesh was thought to be incorruptible, and 
hence was a symbol of immortality. 

“the AGNUS DEI. 

“The Agnus Dei (Lamb of God, St. John i: 
29) is conventionally represented as a lamb, bear¬ 
ing over its shoulder a banner of the cross. 

“The Instruments of the Passion are frequent¬ 
ly grouped, the crown of thorns, post with rings 
to which are bound the rope, scourge, nails, dice, 
reed, sponge, and hammer. 

“the cross. 

“The Cross is the central figure of all symbol¬ 
ism. St. Paul rejoiced in it (Gal. vi: 14). It is 
mentioned by the earliest writers, and has been 
represented in a variety of forms. 

“T is called the tau cross, because it is the 
shape of the Greek letter tau. It is incomplete, 
lacking the top, and is regarded as the anticipatory 
cross, the cross of the Old Testament. The pole 
upon which the brazen serpent was elevated is 
usually given this shape. 

“The Greek cross has all four arms equal. 

“The Latin cross has the lower limb a little 
longer than the upper. 

“X is St. Andrew’s cross. Tradition says the 
apostle was crucified on it. 

“The cross of the Atonement stands upon three 
steps representing the Christian graces, faith, 
hope, and charity. . . . 


“Certain saints and days have their own spe¬ 
cial symbols, as the star of the Epiphany, and 
the Dove of Whitsunday. The lily and the rose 
are appropriate to the Virgin, the keys to St. 
Peter, the sword of the Spirit to St. Paul, and a 
money bag to St. Matthew. The various instru¬ 
ments of torture are assigned to different martyrs, 
as the large knife to St. Bartholomew, the saw to 
St. Simon, and the axe to St. Thaddeus. There 
are other symbols, as a carpenter’s rule to St. 
Thomas, because he directed a king, who wished 
to build a fine palace, how to build one in heaven 
by giving his treasures to the poor. To St. John 
belongs a chalice with a serpent, in allusion to 
an attempt to poison him at the Sacrament, the 
snake representing the evil departing from the 
cup. Erom very early days the four beasts of 
Ezek. i: 5, and Rev. iv: 7, have been regarded as 
symbolic of the four gospels. 

St. Matthew. .Angel or winged man. .. .Incarnation. 

St. Luke.Winged ox.Passion. 

St. Mark.Winged lion.Resurrection. 

St. John.Eagle.Ascension. 

“St. Matthew dwells mostly on the human side 
of our Lord; St. Luke on His suffering, like the 
patient ox; St. Mark, commencing like the roar¬ 
ing of a lion of St. John the Baptist, and ending 
with a succinct account of the Resurrection, of 
which the lion, which was said to lick its young to 
life, was a type; St. John is symbolized by the 
eagle, which looks unblinded at the sun, as the 
apostle pierced to the throne of God and saw its 
glory. 

“colors. 

“Colors have received symbolical use in social 
as well as ecclesiastical affairs. They are asso¬ 
ciated with certain seasons. The eye is used as a 
means of teaching; as well as the ear. 

“White represents joy and purity, and is used 
in Christmas-tide, Easter-tide, on All Saints’ Day, 
days dedicated to the Virgin, and at Weddings, 
Ordinations, Confirmations, and some funerals. 

“Red is used on the days commemorating mar¬ 
tyrs to indicate that they have shed their blood for 
Christ; also at Whitsun-tide to symbolize the 
cloven tongues of fire. 










Page Fort y 


VESTMENTS AND HOW TO MAKE THEM 


“black. 

“Black is appropriate on Good Friday and at 
some funerals. 

“purple. 

“Purple is a sign of penitence for sin, and is 
used in Advent and Lent. 

“green. 

“Green is appointed for suck seasons of the 
Church year as have no particular event to com¬ 
memorate, like the Sundays after Epiphany and 
Trinity. Green is the color of nature’s clothing 
of the earth, and is thus appropriate for the sea¬ 
sons, when the Church moves along in its even 
tenor.” 

/ 

The following extracts are taken from the Rev. 
Percy Dearmer’s hook, “The Ornaments of the 
Ministers”: 

“The Chasuble, Dalmatic, Tunicle, Stole, 
Maniple, and Cope, are usually worn of various 
colours, illustrating the seasons of the year. This 
useful and instructive custom grew up very slowly. 
The earliest traces of any distinctive variation of 
colour are in the sixth century, when white is 
occasionally mentioned as the special colour for 
Easter, the Chasuble (which was usually red or 
brown) being apparently worn of any colour at 
other seasons of the vear. This is indeed still the 
most general practice in the Eastern Church to 
this day. In the ninth century we find in some 
places, besides white for Easter, black or dark 
vestments mentioned for penitential occasions; 
this would give a rough three-colour sequence 
(white—black—various), any colour being used 
for other times of the year. The only earlier 
mention of black is in 476 when the Patriarch of 
Constantinople clothed himself and his sanctuary 
in black as a protest against a decree of the Em¬ 
peror. In 1130 at Milan red was used at Passiou- 
tide, and thus we arrive at the foundation colour- 
sequence of white—red—black, with presumably 
any colour for the remaining days. During the 
latter half of the twelfth century a fuller system 
must have grown up at Rome; for Innocent III. 
about the year 1200 described the colours which 
he found in use at that time, and they form the 


white—red—violet—green—black sequence, used 
very nearly in the same way as now. The other 
colour, yellow, Innocent mentions as reserved by 
some for Confessors; he treats it as a variant of 
green, and blue as a variant of black. 

“Thus definite rules for colour really arose in 
the twelfth century; but outside the city of Rome 
they remained for some time in the transitional 
white—red—black stage, as is illustrated by the 
Statutes of Bishop Patteshall at Lichfield, c. 1240, 
which supply the earliest complete sequence out¬ 
side Rome. . . . 

“The Innocentian colour scheme ... is too 
well known almost to need description. Its prin¬ 
cipal features are the use of a rich white for most 
great festivals and for virgin-saints, of red for 
Whitsuntide and for martyr-saints, or violet for 
Advent (and for Lent in default of the Lenten 
ashen white), of green for ordinary days, and of 
black for funerals, white being used for Baptism, 
Confirmation, Ordination, and Marriage. Thus 
while a poor church can be content with four col¬ 
ours (white, red, green and violet), a rich church 
may have a sequence of eight colours, arranged 
as in the following table: 

Advent.Violet. 

Christmas to Epiphany .White. 

After Epiphany.Green. 

Septuagesima to Lent. . .Violet. 

Lent, four weeks.Lenten White. 

Lent, Passiontide .Passiontide red mixed 

with black. 

Good Friday .Passiontide red mixed 

with black. 

Easter .White. 

Rogation.Violet. 

Ascension .White. 

Whitsuntide .Red. 

Trinity .White. 

After Trinity.Green. 

Dedication .White. 

Vigils .Violet. 

Virgins, etc.White. 

Apostles, Martyrs, etc.. . Red. 

Confessors .Yellow. 

Funerals .Black. 

Baptisms, etc.White. 

“The Ornaments were not originally used with 
any symbolical meaning, though in the Middle 
Ages various mystical interpretations grew up, 
which were arbitrary and very diverse. Perhaps 
the only instances worth remembering are those 
which took the Amice to mean good works; the 





















VESTMENTS AND HOW TO MAKE THEM 


Page Forly-one 


Albe, chastity; the Girdle, discretion; and the 
Chasuble, charity, covering all. Another school 
of interpreters took the Eucharistic vestments to 
symbolize the bonds and the purple robe of our 
Lord. 

“But the real significance of the Ornaments is 
that they tell the office of the Ministers and the 
service in which they are engaged.” 

The foregoing extracts cover the ground so 
thoroughly that it were idle for the author to add 
thereto. 

But it may be said that in embroidering on 
black Vestments, green, white, or silver-gray may 
be used to advantage, and silver thread; also silver 
fringe. 

Every stitch of embroidery should be done by 

v *j 


hand, notwithstanding the enormous quantities of 
machine embroidery used by certain branches of 
the Church; in an emergency our Vestments are 
sometimes purchased at shops dealing in such 
machine-made things, and it is unspeakably de¬ 
plorable that this is so, for the cut is often modi¬ 
fied (as in the Copes, where the neck is cut out to 
fit, instead of the garment being left a perfect 
half-circle), at the expense of antiquity. In such 
vestments the linings are often flimsy, and al¬ 
together the Vestment is not what it should be 
for the service of Almighty God. Better to have 
plain Vestments of rich silk, with only gold braid 
to indicate the outlines of Orphreys, etc., than to 
have a tawdry garment covered with cheap, ma¬ 
chine-worked embroidery and gaudy silks. 



Forms of Crosses. 

i. Cross of Calvary. 2. Latin cross. 3. Tau- 
cross (so called from being formed like the 
Greek letter r, tat*), or cross of St. Anthony. 
4. Cross of Lorraine. 5. Patriarchal cross. 
6. St. Andrew’s cross, or crux decussata. 7. 
Greek cross, or cross of St. George, the na¬ 
tional saint of England. 8. Papal cross. 9. 
Cross nowy quadrant. 10. Maltese cross,’ the 
badge of the Knights of Malta. The eight 
points of this form of cross are said to sym¬ 
bolize the eight beatitudes (Mat. v.). ir. 
Cross fourchee. 12. Cross formy or patte. 13. 
Cross potent, or Jerusalem cross. The four 
conjoined crosses are said to be symbolical of 
the displacement of the Old Testament by the 
Cross. 14. Cross flory. 









CHAPTER IX 


THE CHASUBLE 


T HE Chasuble is mentioned in the Xew Testa¬ 
ment as the Paenula. Dearmer speaks thus- 

wise: 

“The most useful overcoat . . . was the Pae¬ 
nula of heavy woolen cloth which fell all round 
the wearer’s body like a large cape. . . . Within 
the first three centuries we find examples of the 
Paenula in the Catacomb pictures, worn simply 
as an overcoat. . . .We read that St. Martin 
(who died in 397) used to wear the Tunic and 
Amphibalus (Chasuble) while celebrating the Eu¬ 
charist.” 

It is not the aim of this book to induce work¬ 
ers to undertake the elaborate and marvelous. 
That comes when a solid foundation of experience 
renders such things possible and in order. Every 
worker must serve her apprenticeship on reason¬ 
ably simple work before attempting costly and 
difficult embroidery. 

However, in the midst of this book on simple 
(though beautiful) Vestments, it may not be amiss 
to quote a description of a Chasuble which is at 
once one of the most suggestive as to motif and 
the most exquisite as to work in the American 
Church. To St. Mark’s of Philadelphia, Penn¬ 
sylvania, belongs this wonderful Vestment, and 
from the book entitled, “St. Mark’s Church, Phil¬ 
adelphia, And Its Lady Chapel,” by the Reverend 
Alfred G. Mortimer, the following description is 
borrowed: 

“The back of the Chasuble of the Lady Chapel 
white set . . . represents the Fall and Redemp¬ 
tion of Man. We have the Tree of the Knowledge 
of Good and Evil, with Adam and Eve beneath 
the tree; the serpent is whispering into Eve’s ear, 
and she is in the act of plucking an apple. A 
scroll runs across with the inscription: Semen 
Mulieris conteret caput Serpentis. According to 
the ancient legend: from the seed of this apple 
sprang the tree, the wood of which was used for 


the Cross on which our Lord died. Hence the 
tree passes into the Cross and afterward its 
branches change into a graceful rose vine signify¬ 
ing that the flowers which the Cross produces are 
all glorious, though the roses in this world still 
have thorns. In the centre of the Chasuble is the 
Crucifixion, with S. Mary and S. John beneath 
the Cross. Above is a dove, the symbol of the 
Holy Ghost, and two virgin saints. 

“The front of the Chasuble. The same de¬ 
sign is continued: a Cross springing from a tree, 
the branches of which become the boughs of a rose 
vine. At the root of the tree is a representation 
of the Kativity, the Virgin gazing down upon her 
new-born child, thus reminding us of the prophecy: 
‘There shall come forth a rod out of the stem of 
Jesse, and a branch shall grow out of his roots’ 
(Isa. xi, 1). Above, against the Cross, instead 
of our Lord, is the Virgin and Child in a vesica 
of rays of light, with angels holding a crown. 
Thus it will be seen that the front of the Chasuble 
represents the Incarnation while the back tells the 
story of the Fall and Redemption of Man.” 

It may be added that the Chasuble just de¬ 
scribed is of square or Roman shape, which ad¬ 
mits of decoration in the form of the Latin cross; 
this shape admits of more elaborate embroidery, 
but is less graceful and less ancient in shape than 
the pointed or Gothic, in common use in the 
American Church. 

On account of the great diversity of widths of 
differing materials, it is impossible to give an esti¬ 
mate of the amount of material required for the 
Chasuble set. This Chasuble set, by the way, con¬ 
sists of Chasuble, Eucharistic Stole, Maniple, 
Burse, and Veil. The Chasuble is never made 
by itself, but goes with the Chasuble set. 

When a parish provides Dalmatic and Tunicle, 
these should match the Chasuble set as to color, 
material, and embroidery. Bear in mind that for 


Page Forly-truo 


VESTMENTS AND HOW TO MAKE THEM 


Page Forty-three 



PRIEST IN EUCHARISTIC VESTMENTS 
[Server in Cassock and Cotta] 


























LBN&THWISE - FOLD -- V-O'n. 


Page Forty-four 


VESTMENTS AND HOW TO MAKE THEM 


every Dalmatic and Tunicle made, there must be 
provided (to match) one Eucharistic Stole 
(crossed, for a Deacon) and two Maniples. Also 
it is well, when buying materials for a Chasuble 
set (unless it be of white linen) to include enough 



CHASUBLE. Front—(half). 

Y 2 in. allowed for seams and turning in. 
Scale —Ys in. = 1 in. 


In buying, it is well to purchase silks with no 
up-and-down, if possible, or with a very small pat¬ 
tern; otherwise considerable material is likely to 
be wasted on account of matching when piecing 
for width. 



CHASUBLE. Back—(half). 

Y'i in. allowed for seams and turning in. 
Scale —Ys in. = 1 in. 


for one or two Preaching Stoles. While these are 
not embroidered to match the Chasuble set, it is 
just as well to have them match as to shade and 
color, and it proves to be more inexpensive to have 
the whole of the material bought in one length. 


As Miss Hands says, “the material of which 
the orphrey is made should never be less rich than 
the vestment to which it is applied.” 

The back of the Chasuble is slightly longer 
than the front, and is usually more elaborately 










































VESTMENTS AND HOW TO MAKE THEM 


Page Foriy-five 



EXAMPLES OF MODERN CHASUBLES 








VESTMENTS AND HOW TO MAKE THEM 


Page Forly-six 


embroidered. The back Orphreys form a Y-cross 
(Fig. 30), while the front usually has but the one 
strip) straight down from neck to lower edge, called 
the Pillar (Fig. 31). Of course, if one wishes, 
the Y-cross can be used on the front, the same as 
it is on the back. 

The Orphreys and Pillar bear the embroidery. 

The materials of which Chasubles are made 
are either some form of silk, or a handsome linen. 
Of colored linens we have spoken heretofore 
(page 1). Chasuble sets made of white linen 
are only for hospital use, where absolute cleanli¬ 
ness and even sterilization are necessarv and of the 

«/ 

highest importance. 

The cut is the same, no matter what the ma¬ 
terial. 

The measurements of the pattern are as fol¬ 
lows, 4 inch being allowed for seams and turn¬ 
ing in: 


Length down centre fold, front. 40 in. 

Length down centre fold, back. 43 in. 

Shoulder seam. 20 ^ in. 

Neck, front. 16 in. 

Neck, back. 11 in. 

Around bottom, back or front.102 1 / 4 in. 

Width of Orphreys. 5 in. 

Width of Pillar. 5 in. 


If the Y-cross Orphreys are all cut in one 
lengthwise strip 5 inches wide, this strip will be 
102 inches long. The front Pillar takes one strip 
46 inches long and 5 inches wide. 

o 

THE WHITE LINEN CHASUBLE 

It goes without saying that the white linen 
Chasuble is the simplest to make, having no lin¬ 
ing and no gold-work or embroidery in colored 
silks. 

The materials required for the set are: 

Sufficient firm white linen. 

White couching cord. 

Fine white D.M.C. embroidery cotton. 

White darning cotton, or white crochet-cotton. 

No. 80 white thread. 

Some sheer white linen for facing neck and around 
bottom edge. 

The linen for the entire set should first be 
carefully shrunk. 

Draw and cut both portions of the pattern as 
described on page 5. 

Cut the front and back of the Chasuble from 


the linen, having the lengthwise seam down the 
centre of each. Then cut the Orphreys and the 
Pillar. 

For embroidering these last, use a simple de¬ 
sign. Use a sacred Monogram at the intersection 
of the arms of the Y-cross on the back, having it 
just the width of the Orphrey. 

Transfer the embroidery design to the Or- 
phreys and Pillar as described on page 5, having 
the monogram correctly placed (it may be used 
on the Pillar, too) and the main design running 
above and below it. 

Baste 8-inch cambric strips onto the sides and 
ends of the Orphreys and Pillar (page 2). Do 
the embroidering, using white couching cord for 
padding if there are long vine-stems, and white 
darning cotton for the other padding. For em¬ 
broidering use fine white D. M. C. embroidery 
cotton. Use a large hoop. When the embroidery 
is finished, remove the strips of cambric. 

Place the Orphreys in position on the back 
of the Chasuble, having the lower ends of the 
short Orphreys come under the edges of the up¬ 
right one. Turn under 4 inch along the edges, 
baste down, and hem firmly. Place the Pillar 
in position on the front of the Chasuble, and pro¬ 
ceed the same as with the back Orphreys. 

When this is done, take the white couching 
cord and couch it on to the very edge of both 
sides of the Orphreys and Pillar, leaving it free 
an inch from the edge of the linen for turning 
in well. Use white D. M. C. embroidery cotton 
to do the couching. Run in a basting at the neck 
of both back and front to keep linen from stretch¬ 
ing out of shape. 

Lay the front and the back together, right 
sides facing each other, and baste the two shoulder 
seams. Sew firmly with back-stitching, and make 
a hemmed seam as described on page 3. 

From the thin linen, cut a bias facing 14 
inches wide for the neck. Face the neck with 
this, and remove bastings. 

Also cut from the thin linen (on the bias) 
a facing for all around the lower edge of the 
Chasuble, having it 2 inches wide. Put on this 
facing, being extremely careful not to stretch the 












VESTMENTS AND HOW TO MAKE THEM 


Page Forly-seven 


curved edges. Such a facing is preferable to 
a hem. 

This finishes the linen Chasuble. 

It may be added that white China silk is some- 


Lay back and front onto the silk as indicated 
in pattern, and cut. Match and piece (using 
felled seam, page 4) for width where necessary. 
If the silk is wide enough to cut half without 



CHASUBLE. Back. Showing arrangement of Orphreys. 
Scale —% in. = 1 in. 


times employed instead of white linen, but is so 
thin and flimsy for the rest of the set that the 
linen is much to be preferred. 

THE SILK CHASUBLE 

Draw and cut the pattern as described on 
page 5. 


piecing, run the seam down the middle of the 
lengthwise of both back and front. 

The lining may be silk of any appropriate 
contrasting shade or color, or it may be of change¬ 
able silk. Bear in mind that the lining is the 
same to every Vestment belonging to the set. Or 
the lining may be of colored linen (page 1), 






Page Forly-eighl 


VESTMENTS AND HOW TO MAKE THEM 


which is more durable than silk, and also much 
heavier to carry through a long Service. 

Next cut the lining, which is exactly the same 
in size and shape as the outside. 


embroidered or ornamented in any way, as their 
own richness is sufficient ornamentation in itself. 

Frequently (and especially in the case of 
white Chasuble sets) the lining will be of pale 



Ju* 3!. 

CHASUBLE. Front. Showing position of Pillar. 


Scale —Ys 

Then cut the Orphreys and Pillar. 

As to Orphreys and Pillar, they may be of 
velvet, silk, cloth-of-gold, cloth-of-silver, tapestry, 
satin, brocaded silk or brocaded satin or brocaded 
velvet. Those of tapestry, cloth-of-gold, cloth-of- 
silver, and the brocaded fabrics are not usually 


in. = 1 in. 

blue silk, and the Orphreys and Pillar of a 
slightly deeper shade of blue satin. These satin 
Orphreys and the Pillar are unembroidered, being 
merely outlined with a narrow gold braid or a 
few rows of gold thread couched on. Of course 
the Dalmatic and Tunicle match. The Stole and 







VESTMENTS AND HOW TO MAKE THEM 


Page Forty-nine 


Veil have the pale blue lining; and the Stole, 
Burse and Veil are all embroidered with a good 
design in pale blue and a few other delicate tints. 
Sometimes, too, there are no separately cut 


down. The Pillar is indicated in the same man¬ 
ner on the front portion. 

If the Orphreys and Pillar are to be em¬ 
broidered, transfer the desired design as described 



CHASUBLE. Back. Showing Flower and Monogram 
at intersection of arms of Y-cross. 


Orphreys and Pillar, these being merely indicated 
by outlines in narrow gold or silver braid. In 
such cases, the back and front of the Chasuble 
must be cut with no seam down the centre. When 
the back is made, it is laid flat upon a large table, 
and the outlines of the Orphreys marked with 
chalk; then the braid is basted on and sewed 


on page 5. For the sacred Monogram at the 
intersection of the arms of the Y-cross, IHC is 
often used instead of IIIS, and is equal to it in 
every way, the C being the older form of S. 

Relative to sacred Monograms, Miss Hands 
writes as follows: 

“They have been used from very early times, 








Page Fifty 


VESTMENTS AND HOW TO MAKE THEM 


and are among the most beautiful and suggestive embroidered on a circular piece of the Orphrev 
of the symbols. They should not be used indis- material, and couched on after the Orphreys are 
criminately, but given a due place of honor, such applied, as in Fig. 32. This is often finished as 
as on an altar-frontal or the orphrey of a chasuble a Vesica, as in Fig. 33, being simply many rays 



CHASUBLE. Back. Showing Vesica of rays in gold-work 
at intersection of arms of Y-cross. 


or cope. They can be, and often are, extremely 
decorative, and the thoughtless worker is some¬ 
times betrayed into placing them most inappro¬ 
priately simply because she happens to possess a 
good drawing of one.” 

Sometimes a Monogram alone is used, being 


of gold thread radiating in reality from the cen¬ 
tre of the Monogram, but applied from the edge 
of the Monogram disc outward over the Orphreys 
and as far out onto the Chasuble itself as good 
taste dictates. 

Or the Monogram may be done on heavy can- 




















VESTMENTS AND HOW TO MAKE THEM 


Page Fifty-one 



THE LATE JOHN MASON NEALE, D.D 
[Vested in Eucharistic Vestments] 












Page Fifl\)-lwo 


VESTMENTS AND HOW TO MAKE THEM 


vas through linen (in a frame, as described on 
page 2) cut out, and appliqued into place, gold 
thread being couched onto all the edges. A Flower 
(Fig. 32) may or may not be used under the 
Monogram. 

As to the Flower (which is merely a back for 
the Monogram, being in shape a trefoil, quartre- 
foil, round, oval, or pointed oval) it is usually 
the color of the prevailing shade in the embroid¬ 
ery on the Orphreys. As in the case of a white 
Chasuble on which the Orphreys are white, em¬ 
broidered in shades of old-rose, the Flower would 
be of old-rose with the Monoa’ram embroidered 
in white and outlined in gold. The Flower itself, 
the Orphreys, and the Pillar would all be out¬ 
lined in gold; the lining of the entire set would 
be a delicate shade of old-rose. 

To embroider Orphreys, Pillar, or Flower, 
set linen in the frame, baste silk portions flat onto 
it, and proceed to embroider through the linen. 

The sacred Monogram on a Vesica is em¬ 
broidered in the same way. If the Vesica has no 
ground-piece, being merely a Monogram from 
which rays of gold radiate, this Monogram is em¬ 
broidered on a piece of canvas, through the linen 
in the frame; after it is removed from the frame, 
the linen and canvas are cut away to within ^ of an 
inch of every edge of the embroidery, inside and 
outside. The entire back of the Chasuble is basted 
onto the linen in the frame, and the plain Or¬ 
phreys applied and outlined in gold; then the 
Monogram is put into place at the intersection 
of the arms of the Y-cross, and fastened firmly 
down with back-stitching along every edge, inside 
and outside. These raw edges are then covered 
with rows of coarse gold thread couched on. 
When this is all finished, the rays should be 
drawn on the Chasuble with chalk and a ruler, 
to a circle around the Monogram. Of course they 
can be put on to a greater number than in Fig. 
33, and when there is no ground-piece to the 
Monogram no line is done in gold to circle the 
Monogram, as is illustrated in Fig. 33. This 
gives the effect of a glory shining round about 
the very Xame of our Blessed Lord. 

When the embroidery is finished, take Or¬ 
phreys, Pillar, and Flower from the frame. 


The Orphreys are applied to the Chasuble 
back in several different ways, according to the 
amount of embroidery, stiffness of material, man¬ 
ner of treatment, etc. Common sense and a little 
experience will guide one concerning the work in 
hand. 

While a frame is an absolute necessity in 
many instances to prevent drawing of materials, 
it is not always so. When very simple, soft Or¬ 
phreys and Pillar are to be put on, it may be done 
the same as in the case of the linen Chasuble, de¬ 
scribed on page 41, with the exception that narrow 
gold or silver braid is used instead of the couch¬ 
ing cord to finish the edges. 

When thev have been embroidered in a frame, 
take from frame and trim the linen \ inch inside 
the edges of the silk; turn the silk under inch 
over the edge of the linen, and baste. Then put 
on to the Chasuble the same as described on page 
41, using narrow gold or silver braid to finish 
the edges. 

To apply heavy Orphreys (the Pillar is ap¬ 
plied to the front in the same way) baste the 
back of the Chasuble onto the linen in the frame. 
The Orphreys (having been embroidered in the 
frame and the linen cut even with the edges) are 
laid in place on the back of the Chasuble, and 
basted down. They are then sewed firmly on, 
the edges being left raw. Remove bastings, and 
couch on rows of coarse gold thread sufficient to 
cover the raw edges beautifully and entirely. 

When velvet Orphreys and Pillar are used, 
the best way is to do the embroidery separately on 
linen, cut it out and applique it onto the velvet 
Orphreys and Pillar. This is done by basting 
the velvet Orphreys and Pillar onto the linen in 
the frame, and appliqueing and finishing the 
edges of the embroidery as described on this page 
for the monogram. The Orphreys and Pillar are 
then taken from the frame and applied to the 
Chasuble, as described above for heavy Orphreys. 
The writer once saw a green silk Chasuble made 
in this way, in which the Orphreys and Pillar 
were of a rich green velvet; the embroidery de¬ 
sign was a vine with clear-cut flowers and leaves; 
the flowers were done in shades of shrimp-pink 
and salmon and the leaves were of wonderfully 



VESTMENTS AND HOW TO MAKE THEM 


Page Fifty-three 


shaded greens touched with salmon. This em¬ 
broidery was appliqued onto the velvet Orphreys 
and Pillar, every outline in the embroidery de¬ 
sign, as well as the outer edges, being done in 
couched gold-thread; also each leaf had a central 
vein of gold. 

In whichever manner the Orphreys and Pillar 
are finished onto the Chasuble, the back and front 
should be finally laid together, right sides facing 
each other, and the shoulder seams basted for 
felled seams (page 4). Sew securely, using silk 
to match; remove bastings, and turn right side 
out. Press carefully on wrong side, if necessary. 

Sew lining together in exactly the same way. 
Leave it wrong side out, and slip it into the outside. 
Have the shoulder seams matched exactly at both 
sides of the neck and on the outer edges. Baste 
together at the neck and around the bottom, 1 inch 
from the edge. First turn in the outside of the 
neck 4 inch, and baste onto itself; then turn in 
the lining so that it comes to within ^ inch of the 
edge, and baste it to the outside; hem invisibly 
with silk to match lining. Do the same all around 


the bottom. 

It is best to sew a fine, narrow lace to the edge 
of the neck (both inside and outside), so that it 
lies over onto the Chasuble, protecting the silk 
edge and keeping it from wearing. This lace 
(which is not visible from the Chancel to people in 
the Xave of the church) can be removed when 
soiled, and replaced with new. 

If a warm Chasuble is desired, it is best to buy 
a heavier grade of goods, as much silk being in it 
as possible, and some wool. Cashmere is good. 
The only drawback in the case of wool is the dan¬ 
ger of moths; cedar-berries (or something which 


will not discolor fabrics and is not too offensive 
as to odor) should be kept in the drawer with 
Vestments containing wool, and the drawer over¬ 
hauled frequently. If the desired shade or color 
cannot be obtained in an otherwise acceptable ma¬ 
terial, the goods may be sent to a reliable dyer. 

Interlinings should not be used in making 
Chasubles. They render the Vestment clumsy 
in the extreme, and for summer use they are 
simply sweltering. 

Black Chasnble sets should be lined with a 
quiet green, gun-metal, etc. They should be em¬ 
broidered in green, silver-gray, mouse-gray, white, 
etc. Silver thread may be used to finish, or white 
silk cord. White Chasuble sets are often lined 
with red, and red sets are frequently lined with a 
good shade of blue. Green sets may be lined with 
tan, pale green, a soft pale blue, or a changeable 
silk. Violet sets should be lined with a lighter 
shade of violet, or a pale lilac. 

It should be borne in mind that there are red 
cloth-of-gold, green cloth-of-gold, blue cloth-of-gold, 
yellow cloth-of-gold, etc., and buy accordingly. 

Chasubles sometimes have a cord or elaborate 
gold braid, or both, all around the outer edge, and 
gold braid around the neck. 

Thistles and thistle-blossoms, butterflies, and 
palm-boughs are not unknown in the embroidery 
of Chasuble sets, as well as of Tunicles and Dal¬ 
matics. These have to be treated in a masterly 
way, it may be observed, but if properly done they 
are exquisite. 

Designs for the embroidery on the Chasuble 
may easily be adapted for use on the rest of 
the set. 





CHAPTER X 


TIIE EUCHARISTIC STOLE 


T HE Eucharistic Stoic is worn hanging straight 
from the shoulders, by a Bishop; crossed in 
front under the Girdle, by a Priest; and crossed 
under the left arm, by a Deacon. To a sub-Deacon 
it is denied, the Maniple being worn with no 
Stole. 

Eucharistic Stoles are made, as a rule, to match 
the Chasuble set. If there be no embroidery on 
the Chasuble, the Eucharistic Stole is embroidered 
in colors which harmonize with the general tone 
of the set. The lining always matches the rest of 
the set. 

If an extra Eucharistic Stole is to be made, a 
heayy grade of ribbon is sometimes used. In 
such a case, the selvedge-edges must always be 
trimmed away. Taffeta ribbon is used for the lin¬ 
ing of ribbon Stoles, and matches the lining of 
the Chasuble with which it is designed to he used. 
This is sometimes done when the first Eucharistic 
Stole wears out, while the rest of the set is still 


- 


good. 


.C 

*4 


$ 


$ 

a 


£ 


As the Eucharistic Stole is usually made from 
the same piece of material from which the rest 
of the set is cut, that is provided for. The lining 
also comes off from the piece used for the lining 
of the set. Besides these, the following materials 
are needed: 

y± yd. fine white crinolin. 

y 2 yd. heavy silk fringe (same color as the outside of 
the Stole). 

Basting thread. 

Sewing silk to match both outside and lining. 

Sufficient white Venetian cloth for interlining. 

Embroidery silks and gold or silver thread as embroid¬ 
ery design requires. 

Yellow sewing silk (for couching on gold thread) or 

Pale gray sewing silk (for couching on silver thread). 

1 fine linen handkerchief (embroidered) ; or 

A 12 in. length of fine hand-made lace; or 

A 12 in. strip of white hand-embroidery, either the 
lace or the embroidery being 2y> in. in width. 

The measurements of the pattern are as fol¬ 
lows, allowing I inch for turning in at each 

side, and 1 inch for turning in at bottom: EUCHARISTIC STOLE. (Half. 

y 2 in. allowed for turning in. 

Length (not including fringe).lOl^in. Scale_% in. = 1 in. 

Width at centre of neck. 3% in. (This pattern does not include 

Width across each end. 6ti in. length of fringe.) 

Page Fifty-four 




Draw and cut the pattern as 
described on page 5. If neces¬ 
sary, one cross wise seam is al¬ 
lowed, this being at the centre of 
the back or neck. 

Cut both the outside and the 
lining; also the interlining. If 
the interlining has to be pieced, do 
not sew it in an ordinary seam; 
merely lap it, and sew with fine 
thread, using no knot. 

If the Stole is cut in two 
matching halves, sew the seam at 
the centre of the neck lief ore trans¬ 
ferring the embroidery design onto 
it. Determine upon the embroid¬ 
ery design to be used, and transfer 
it to the outside material of the 
Stole as described on page 5. 

Merely the ends may be em¬ 
broidered, or the Stole may have 
rich embroidery running its entire 
length. Select a design the motif 
of which corresponds closely to the 
Chasuble embroidery; or use an 
adaptation of the Orphrey design. 
Transfer a small square cross to 
the exact centre at the neck. This 
cross is finished by couching on 
several rows of gold or silver 
thread, according to the rest of the 
embroidery. 

t/ 

For embroidered Stole-ends, a 
design on a violet Stole may be 
done in shades of violet and lilac, 
outlined in gold thread; a black 
Stole may be done in 


white or pale gray, and 
outlined in silver thread. 
Rose designs are best car¬ 
ried ont on white or deep 


















VESTMENTS AND HOW TO MAKE THEM 


Page Fifly-five 


Stoles. Gold work is 


good 


on a red 


cream 
Stole. 

Baste the outside material onto the linen in 
the frame (Fig. 35), as described on page 2, and 
do the embroidery. Remove from frame, and 
trim the linen ^ inch inside the outer edges, and 
1 inch inside the two ends. 

Cut a piece of the crinolin inch smaller all 
around than the 
pattern) for each 
end of the Stole, 
having it 6 inches 
deep. Lay one of 
these pieces 1 
inch f r o m the 
edge of each end 
of the interlin¬ 
ing of the Stole, 
and baste into 
place. 

Then, with 
the pieces of 
crinolin on the 
upper side, lay 
interlining on to 
the wrong side of 
the outside - ma¬ 
terial. Baste 
together through 
the centre lengthwise. 

Fold over both the 
edges d inch, and each 
end 1 inch, and baste 
down carefully. 

Cut the fringe so 
that it can be finished 
securelv on the ends, 


the Stole. Baste lining so folded under, and hem 
invisibly with silk matching the lining. 

o O O 

For the protector at the neck, cut a strip Id 
inch wide from the linen handkerchief; hem it 
delicately, and lay it right side out onto the 
wrong side of the Stole, having it lap over the 
Stole just enough so that it may be tacked lightly 
on and then folded over onto the right side. 



3 3 *. 

EMBROIDERY FRAME. 

Shows frame fastened together ready for use, and un¬ 
bleached linen already in. Strips of material are basted 
onto linen ready to be embroidered. The boles in the beams 
are for making the frame larger or smaller at will. Some 
frames (such as Copes are set together in) are a great deal 
longer than this one would seem to be. They must not be 
too wide or one cannot conveniently reach the work. No¬ 
tice the lengths of webbing fastened along the inner edges 
of the beams, on which to fasten the thread lacing into the 
linen. (Greatly reduced.) 


erable, but of 
course either one 
takes a great deal 
of time to make. 

When the Stole is 
entirely finished, it 
should be carefully 
on the wrong 


and finish it to the 

width of the two ends of the Stole. Lay it onto 
the wrong side of the Stole, baste on, and sew 
firmly. Be sure that it is right side out. 

Lay the Stole wrong side up, and onto it lay 
the lining, right side up. Placing it ac¬ 
curately, baste all together lengthwise through 
the centre. 

Proceed to fold in the edges of the lining so 
that they lie within ^ inch of the outer edge of lining of the Stole. There is no interlining and 


pr 

side. 

If the Stole is de¬ 
signed to go with a Dal¬ 
matic, it should be em¬ 
broidered accordingly. Also, it must be crossed 
and fastened together so that it crosses under the 
Deacon’s left arm, somewhat below the waist-line, 
the ends hanging loose from there. 

EUCHARISTIC STOLE OF WHITE LINEN 

If the Chasuble set be of white linen for hos¬ 
pital use, the linen is cut for both outside and 



























































VESTMENTS AND HOW TO MAKE THEM 


Page Fifty-six 


no stiffening at the ends. The fringe is heavy, 
and of white linen. 

The embroidery is not done in the frame, but 
a large hoop is used; 8-inch strips of firm cambric 
are basted onto the sides and ends while em¬ 
broidering (page 2). The embroidery is done 
entirely in white, fine D. M. C. embroidery cotton 
being used, and white darning cotton for padding. 
When the embroidery is finished, the cambric 
strips are removed, edges turned in ^ inch, ends 
turned in 1 inch, and fringe fastened into place; 
the lining is then basted on fiat, turned in, and 
hemmed down with fine needle and thread. A 
fine linen embroidered protector is added at the 
neck. 

This Stole can be laundered with the rest of 
the white linen set. When drying the friiicy, it 


should be well shaken out every few minutes until 
entirely dry; in this way no trouble will be ex¬ 
perienced with it.* 

* “Whatever the history of the Stole and Maniple may 
have been, the way in which they are now worn inevitably 
reminds the wearer of the halter round the neck of the 
Saviour by which He was dragged through the streets, and 
the rope which tied His wrists together and had to be 
loosed, before He could reach to Malchus. It is no won¬ 
der that the reverence of the Western Church puts them 
now out of sight beneath the over-all. We may reasonably 
distrust such accounts of their origin as makes them merely 
Western developments hy way of remnant from some more 
ample and more dignified garments; because similar Vest¬ 
ments are found in the East, in Churches which were never 
within the area of the Roman Empire, and which were out 
of communion with Rome long before the Stole and Maniple 
were recognized as ecclesiastical Vestments in any Churches 
of the West.” (The Gospel Vestments, by the Rev. C. R. 
Davey Biggs, D.U.) 







THE STOLE AND MANIPLE OF ST. CUTHBERT 


























CHAPTER XI 


THE MANIPLE 


~3/i 


T HE Maniple is worn on the left arm of the 
Bishop, Priest, Deacon, or snb-Deacon. 
Dearmer tells ns that “the Maniple seems to 
have been used by deacons as a towel when their 
original napkins had developed into Stoles. . . . 
It is like the Stole . . . except that it is 
shorter. The snb-Deacon, though he does 
not wear a Stole, wears the Maniple at the 
Eucharist (and is thus . . . distinguished 
from the . . . Acolyte). ...” 

The Maniple matches the Chasuble set 
in every particular. It especially matches 
the Eucharistic Stole as to embroidery, of 
which it is a replica in miniature. 

However, there are a few points of 
difference between the Eucharistic Stole 
and the Maniple besides the difference in 
size. The Maniple, in the first place, is 
embroidered on one side or one end only, 
it being folded in the centre over the arm. 

Were it embroidered on both ends or sides, 
the embroidery on the side next to the 
wearer would soon be worn to shreds, be¬ 
sides catching on other Vestments. Also, 
the Maniple has no linen pro- 


c 


lows, ^ inch being allowed for turning in at each 

side, and 1 inch for turning in at each end: 

Length (not including fringe).38 in. 

Width at centre. in. 

Width across ends. 5% in. 

Materials required, besides outside and 

lining, interlining and crinolin, are: 

% heavy fringe (color to match). 

!/» yd. white elastic, 1 in. wide. 

Embroidery silks, and gold or silver thread as 
required by embroidery design. 

Silk for couching on gold or silver thread. 
Basting thread. 

| Make as directed for the Eucharistic 

A Stole, of course omitting the protector and 
half of the embroidery. 

Fold exactly in the centre, and add the 
elastic as described. 




3^. 3 b . 


MANIPLE. (Half.) 


tector, it needing none. 


Scale —Vs in. = 1 in 


garter 


It has,, however, an elastic 
fastened inside at the 
top after the Maniple has been folded over. This 
elastic fits the fore-arm of the wearer, and serves 
to keep the Maniple in place. It goes over the 
sleeve of the Alb. The Maniple is fastened down 
to the elastic, so that both sides hang close to¬ 
gether without showing the elastic. 

A cross is embroidered in gold or silver at the 
top in the centre, the same as on the Stole. 

The measurements of the pattern are as fol¬ 


1 in. allowed for turning in at ends. 
y 2 in. allowed for turning in at each side. 


THE MANIPLE OF AVIIITE LINEN 

This is to match the white linen set 
designed for hospital use. 

As in the case of the white linen Eu¬ 
charistic Stole, there is no stiffening and 
no interlining; the embroidery is done in 
white with fine D. M. C. em¬ 
broidery cotton; a hoop is used 
instead of the frame, and 8-inch 
strips of cambric are basted on 

to the sides and ends while the embroidery is 

»/ 

being done. 

Make as directed for the white linen Euchar¬ 
istic Stole, of course omitting the protector and 
half of the embroidery. Use white linen fringe 
on both ends. 

The elastic should be removed while the Mani¬ 
ple is being laundered, as hot water ruins its 
elasticity. 


Page Fifty-eight 










CHAPTER XII 


T HE Preaching Stole is a variation of 
the Eucharistic Stole, being a trifle 
narrower and much shorter, as well as be¬ 
ing less elaborate of decoration. 

Sometimes, however, especially for 
Cathedral nse, the embroidery design is 
full-length, and the work is splendid with 
gold thread and jewels and colored silks. 

White Preaching Stoles are sometimes 
ornamented with a painting of our Blessed 
Lord and one of the Holv Mother, these 
being done on separate pieces of white 
satin, cut Gothic, and appliquecl onto each 
end of the Stole. The edges of these deli¬ 
cate paintings are then covered with sev¬ 
eral rows of gold thread. Such Stoles are 
extremely beautiful, but the painting must 
be exquisitely done. 

The Priest’s or Bishop's Preaching 

Stole is naturally more elaborately deco- 
€/ */ 

rated than the Deacon’s. The Deacon’s 
Preaching Stole is worn around the neck 
and is then fastened together at the left 
side by means of a hook and eye placed 
-14 inches from the ends. 

The Preaching Stole is worn at every 
Service excepting the Holy Eucharist. 

Even then, when a Priest or Deacon 
(wearing no Dalmatic) assists by offering 
the Chalice, he wears for the time being 
a Preaching Stole. 

It has been said hereto¬ 
fore that the sacred Mono¬ 
gram should be used with 
due regard for its signifi¬ 
cance; therefore, on Preaching Stoles which are 
to be worn at the celebration of the Eucharist, at 
plain Marriages and Funerals, Baptism, Con¬ 
firmation, and Confession, a sacred Monogram is 
in order. 


The Preaching Stole is made exactly 
like the Eucharistic Stole, except that the 
embroidery design does not have to match 
any other Vestment’s embroidery. Sep¬ 
arate designs are employed and worked 
out in any effective and beautiful way. 

Select good shades and avoid glaring 
colors, both in materials and embroidery. 
Many a Preaching Stole, otherwise beau¬ 
tiful, has been utterly spoiled by the inju¬ 
dicious selection of designs and embroi¬ 
dery silks. Have the design appropriate 
and Churchlv. Do not indulge in a vine 
roses interspersed with 
blotchy leaves and kittenish buds. We 
have seen such, and shuddered. Err on 
the side of dignity, if necessary. 

Preaching Stoles are made from da¬ 
mask, brocaded satin, plain satin or silk, 
ribbed silk, cloth-of-gold, cloth-of-silver, 
and any other form of silk from which 
Eucharistic Stoles may be made. Again, 
the Preaching Stole differs from the 
Eucharistic Stole in that the lining of the 
former always matches the outside in 
color. This lining is usually of silk or 
satin. 

Where only the ends are embroidered, 
«/ 

it is best to have the lower edge of the 
design H inches from the end of the 
Stole. 

The colors of the Preach¬ 
ing Stole follow the Church 
seasons, of course. It is well 
to have two of each color, a 
simple one and a more elaborate one. 

Beware of using white fringe on a cream 
Stole, and vice versa; or the fringe may be of 
gold or silver, according to the embroidery. 

Ileavv ribbon may be used, both for the lining 


THE PREACHING STOLE 


— 4 /*■ ■ 


r\. 


of bright pink 


3 J . 

PREACHING STOLE. (Half.) 

1 in. allowed on each end for turning in. 
14 in. allowed on each side for turning in. 
Scale—% in- = 1 in. 


Page Fifty-nine 











Page Sixty 


VESTMENTS AND HOW TO MAKE THEM 


and for the outside. Brocaded ribbon is often 
handsome for the outside. 

Preaching Stoles are never made from white 
linen. 

For a Preaching Stole the following materials 

C* O 

are necessary: 

1 yd. of material for outside of Stole. Tf ribbon is 
used, it will take 2*4 yds. of 6-in. width. 

1 yd. silk or satin for lining. If of ribbon, it will 
.take 2^4 yds. of 5-in. taffeta. 
y 3 yd. heavy silk fringe (or gold or silver). 

1 spool fine sewing silk to match Stole. 

1 yd. white Venetian cloth for interlining. 
y± yd. fine white erinolin. 

1 fine linen handkerchief (embroidered). 

Basting thread. 


1 spool yellow (or pale gray) sewing silk for couching 
on gold (or silver) thread. 

Skeins of fine gold or silver thread, according to em¬ 
broidery. 

White darning cotton for padding embroidery. 
Embroidery silks, as required by design. 

The measurements of the pattern for the 

Preaching Stole are as follows: 


Length, not including fringe.74 in. 

Width at centre of neck. 2*4 in- 

Width across each end. 5% in. 


For turning in, inch is allowed on both 
sides and 1 inch on each end. 

Draw and cut pattern as described on page 5. 
Proceed to make as directed for silk Eucha¬ 
ristic Stole. 






CHAPTER XIII 


THE COPE 


r I''HE Emperor Augustus, as Suetonius relates, 
tried to stop the custom, which was growing 
among the Romans even in his time (B. C. 27— 
A. D. 14) of giving up the national Toga in favor 
of forei gn garments, and therefore ordered the 
Aediles to prevent anyone coming into the Forum 
or the Circus unless they had taken off their 
Lacernae. This garment was thus a mantle worn 
often over the Toga: it was ... a semi-circular 
garment fastened with a clasp in front. . . . The 
Byrrus was another form of this mantle. There 
was no essential difference between the Byrrus and 
the Lacerna. . . . Both words were employed to 
describe the outer garment which St. Cyprian laid 
aside at his martyrdom, A. D. 258. . . . The 
Byrrus under the name of Capa is . . . common 
. . . today as the ordinary winter cloak of Ital¬ 
ians, just as in Spain the poncho still perpetuates 
the lay Paenula as a common overcoat. . . . 

“We find pictures of the Lacerna in Ravenna 
and Rome in the sixth and seventh centuries: in 
the sixth century mosaic representation of the 
Christian Altar at St. Vitale, Ravenna, Melchiz- 
edek wears it; in the seventh century mosaic of the 
same subject at St. Apollinare in Classe, Melchiz- 
edek presides at the Altar vested in a Lacerna 
that is precisely like the liturgical Cope of the 
fifteenth century pictures; among other instances 
may be mentioned the fresco in the catacomb of 
St. Ponziano, Rome, which belongs to the sixth 
or seventh century, where Saints Abdon and Sen- 
nan wear similar Lacernae or Copes. Xo doubt 
the words Lacerna and Byrrus were then both 
obsolete, but the garment was not; and already in 
the seventh century we find the word Cappa ap¬ 
pears as the definite name of the liturgical Cope; 
and in the ninth this garment is called the 
Pluviale.” ( Dearmer.) 

The Cope is enormously large—by far the 
largest Vestment we have to deal with. 


When worn, it should properly come halfway 
to the top of the head in the back, and fasten on 
the breast in front with a Morse—which may be 
a large, jewel-incrusted clasp of precious metal, 
or a short strip of embroidered and lined material, 
matching the Cope itself instead of the Orphrey. 

Some modern Copes are cut out to fit the 
neck, thus spoiling the semi-circle of the Cope of 
antiquity, and also allowing the Cope to rest low 
upon the shoulders instead of being properly ad¬ 
justed; this brings the Morse somewhere in the 
region of the diaphram instead of directly across 
the chest where it belongs, and gives the whole 
Vestment a naked, swinging effect generally. 

The semi-circle is, in a way, theoretical; for 
when drawing the pattern, the centre of the circle 
is placed 3 inches above the straight top line. 
This prevents the Cope (which is exceedingly ex¬ 
pensive and gorgeously embroidered) from drag¬ 
ging its lower edge along on the floor and so be¬ 
coming hopelessly frayed and ragged after being 
worn a few times. 

Copes may be made from damask, silk, bro¬ 
cade, velvet, satin, or cloth-of-gold. The lining 
may be of silk or colored linen; silk is desirable 
because it is of light weight; and linen is desirable 
because of its unexcelled durability. The colors 
of the Cope follow the Church seasons. The 
lining is always of a contrasting color—and more 
of a contrast than in any other Vestment. 

The long Orphrey may be made of tapestry, 
velvet, plush, cloth-of-gold, cloth-of-silver, or of 
contrasting silk heavily embroidered. It is al¬ 
ways of a contrasting color, unless indeed it is 
only indicated on the Cope by gold or silver or 
silk braid. It is highly desirable that there be a 
real Orphrey, however, and not a mere indication. 

The Hood is made of the same material as the 
Cope. It is made separately, and gorgeously em¬ 
broidered, usually all over, and almost always has 


Page Sixty-one 


Page Sixly-livo 


VESTMENTS AND HOW TO MAKE THEM 


the sacred Monogram in its centre. Sometimes 
the Hood is ornamented with a large sacred Mono¬ 
gram alone, done solidly in gold or silver, and 
appliqued onto the centre of the Ilood. Such a 
Hood is right splendid. It may be well to here 
caution workers against buying such Monograms 
ready-made. Those which are bought are machine- 


than the round or pointed ones. As to the fasten¬ 
ing, after the Hood is finished it may be sewed 
down firmly onto the Cope at the time the Or- 
phrey is applied; or it may have small loops of silk 
cord (or gold or silver cord) which slip over cor¬ 
responding buttons on the Cope. Such buttons 
should be covered with silk or woven gold or silver, 


Centre-point 



COPE. (Half.) 

V- 2 . in. allowed all around for turning in. 

Scale—1 -1G in. = 1 in. 

It will be noticed that the drawing-centre is placed 3 in. 
above the implied centre of the outside circle. 


made and unworthv to ornament so regal a Vest- 
ment as a Cope. They should always be embroid¬ 
ered by hand on linen or canvas in a frame. The 
Hood is lined with the same lining as that of the 
Cope, and may have gold, silver, or silk fringe 
around the sides and lower edge. The top fastens 
onto the Cope either at the centre of the lower 
edge of the Orplirey (Tig. 43), or over the Or- 
phrey (Fig. 42). The Hood may be more pointed 
than the one here given, if desired; or it may be 
square, although square Hoods are less graceful 


according to the Cope, and should be tiny but 
well-formed, so as to hold the loops without dan¬ 
ger of slipping. The Hood, if heavily embroid¬ 
ered, is stiffened with tailor’s canvas. But there 
are Cope Hoods with a simple Monogram done in 
silks, which are not stiffened—merely lined. 

The Morse is lined to match the Cope lining. 

Copes are sometimes embroidered all over. 
If one has a life-time at one’s disposal, such em¬ 
broidery might be urged. It is well known that 
no two people embroider exactly alike, therefore 






VESTMENTS AND HOW TO MAKE THEM 


Page Sixly-three 



*7 3e l- 

COPE. Hood—(half). 

*4 in. allowed all around for turning in. 

Scale—% in. — 1 in. 

what one has begun one is likely to be expected 
to finish. It is modestly suggested that by the 
time one has completed the embroidery on a good, 
broad, elaborate Cope Orphrey and possibly a 
Hood and a Horse, one will hardly be physically, 
mentally, or spiritually anxious to start in on a 
semi-circle of all-over embroidery measuring some 
126 inches in length and about 55 inches in width. 
This is in no sense intended as an argument 
against all-over embroidered Copes, however. 
Some Copes are, indeed, embroidered all over by 
machinery: but such embroidery ought never to 
be resorted to for Vestments. 

As a sort of compromise between an all-over 
embroidered Cope and a perfectly plain Cope, 
there is sometimes a wide border of embroidery 
done all around the bottom. Such ornamentation 
is handsome, though met with only occasionally. 
Or the embroidered border may be only a few 
inches in width. If the Orphrey be of tapestry, 
there is sometimes a 2-inch strip of tapestry put 
all around the bottom of the Cope. This is not in 
reality a strip, such a piece being fitted to the 
Cope’s circular edge in curved sections of the 
width of the material. There may be a fringe 
all around the bottom, to match the fringe around 


the bottom of the Ilood. Or the bottom of the 
Cope may be finished plain. 

The outside material for the Cope is cut 
lengthwise, as indicated in the pattern (Fig. 38). 
The lengthwise of the lining, however, runs the 
opposite way, being parallel with the front Or¬ 
phrey (or the top of the Cope). The lining 
reaches to every edge. 

Such things must all be duly considered be¬ 
fore measuring for amounts of materials. 

The materials required for the Cope are: 

Sufficient material for outside, Morse, and Hood. Lin¬ 
ing for same. 

Material for Orphrey (and 2 in. border for bottom of 
Cope if this is desired). 

Tailor’s canvas to stiffen Hood (if it is desired to 
stiffen this. Usually stiffened). 

Fringe as desired, of gold, silver, or silk. 

Gold braid to finish Orphrey, Morse, and Hood (if de¬ 
sired ). 

Basting thread. 

Embroidery silks as required by designs. 

Gold or silver thread as required by designs. 

Darning cotton for padding embroidery. 

Yellow (or pale gray) sewing silk for couching on gold 
(or silver) thread, or for sewing on braid. 

2 large hooks for Morse. 

2 large eyes. 

7 small buttons, and sufficient silk cord for loops. 

Sewing silk to match outside, lining, and Orphrey. 


1 


- r/2„ ~ 




f/. 

COPE. 

Fig. 40 shows the pattern of Morse, allowing % in. for 
turning in on three edges, and 1 in. for inserting 
into Cope at the remaining end. (Entire.) 

Fig. 41 shows the location of large hooks on the under-side 
of the finished Morse. 

Scale —14 in. = 1 in. 














Page Sixty-four 


VESTMENTS AND HOW TO MAKE THEM 



COPE. (Entire.) Showing Position of Orphrey, Hood, and Morse. 

On this Cope the Hood is attached to the upper edge of the Orphrey, thus covering the Orphrey for 18 in. 
Another manner of attaching the Hood is shown on page 59. 












VESTMENTS AND HOW TO MAKE THEM 


Page Sixly-five 


The measurements of the pattern are as fol¬ 
lows, ^ inch being allowed for seams and turning 
in (but no allowance being made for seams sewed 
in the process of piecing for necessary width), 
and 1 inch being allowed at one end of the Morse 
for inserting into edge of Cope: 

Width across top.126 in. 

Length from centre of top to centre of lower 

edge .60 in. 

Width across top of Hood. 19 in. 

Length down centre of Hood. 21 in. 

Length of Morse. 9*4 in. 

Width of Morse. 4 in. 

Length of Orphrey.126 in. 

Width of Orphrey. 11 in. 

The lining of Cope, Hood, and Morse, is cut 
exactly the same size as the outside. 

First draw and cut all portions of the pattern 
as described on page 5. 

Cut the outside, Morse, and Ilood, and then 
the lining for them. Lastly, cut the long Orphrey. 
If there is to be a border of tapestry (matching 
the Orphrey) around the bottom of the Cope, cut 
that to fit the curved edge, each section being the 
width of the material. 

If the Orphrey is to be embroidered (and it 
usually is), select the embroidery design and trans¬ 
fer it as described on page 5. Usually a Cope 
Orphrey is about 10 inches wide when finished, 
although they may be narrower. 

Also select embroidery designs for Hood and 
Morse. The embroidery on the Morse agrees in 
design and treatment with that of the Orphrey, 
but should, of course, be narrower. Transfer these 
designs. 

Then baste the Orphrey, Hood, and Morse onto 
linen set into suitable embroidery frames (page 
2), and do the embroidery. If the Cope is to 
be embroidered all over, or if an embroidered bor¬ 
der is to be done around the bottom, the design 
must be transferred on (agreeing in general with 
the embroidery on the Orphrey), and the entire 
Cope set into a frame on unbleached linen, and 
the embroidery done. It is best to keep everything 
covered except the immediate space being em¬ 
broidered, or the Cope will become soiled. Often 
jewels are set into the embroidery, especially that 
on the Hood. 

It may not be out of place here to deplore the 


use of so-called “jewels,” which are sometimes 
purchased for use in embroidery. These are in 
reality nothing but the cheapest bits of colored 
glass set into backs of brass or tin; frequently 
they are not even cut, merely being pressed, and 
are anything but rich or effective. Such tawdry 
things should never be used on Vestments. If 
precious stones cannot be afforded (or given), do 
not stoop to the using of imitations. This does not 
mean that good doublets may not be used. Have 
the settings of gold or silver. Jewels are often be¬ 
queathed to the Church for such purposes. Gar¬ 
nets are about the least expensive stones to buy. 

When the embroidery is all finished, and taken 
from the several frames, the linen is carefully 
cut away. 

Make the Hood bv cutting the stiffening J inch 
smaller all around than the pattern. Baste this 
canvas onto the wrong side of the embroidered 
Hood; turn the edges of the outside material over 
the edges of the canvas all around, and baste 
down. Lay fringe on around the bottom and side 
edges, and sew firmly, being sure that the fringe 
is going to be right side out. Fasten on the loops 
of silk cord (for slipping over buttons) at the top 
edge of the Hood, and sew securely onto the canvas. 

Lay the lining (right side up) onto the can¬ 
vas, and baste together; fold under the edges so 
that they come to within ^ inch of the edge of the 
material of the Hood; baste down, and hem firm¬ 
ly with silk matching the lining. This finishes 
the Hood, unless gold or silver braid or cord is 
sewed next to the edge all around (on the right 
side), top included. Or a number of rows of 
gold or silver thread may be couched on instead 
of the braid or cord (according to the way the 
Orphrey is intended to be finished), care being 
taken not to catch threads through onto the lining. 

Or if the Hood is to be fastened bodily onto 
the Cope, the top edges should be left raw, both 
as to lining and outside, and the braid or cord or 
gold thread sewed on J inch from the top edge to 
finish. In this case, leave a firm basting along 
the raw edge at the top of the Hood. 

Make the Morse by simply turning in the 
edges I inch on top and bottom and right end, and 
basting down. Onto the under side of the left 











Page S ixty-six 


VESTMENTS AND HOW TO MAKE THEM 



be 



COPE. (Entire.) Showing second manner of attaching the Hood. - 
This Hood is attached at lower edge of Orphrey, being less cumbersome than the one shown in the precedin 











VESTMENTS AND HOW TO MAKE THEM 


Page Sixty-seven 


edge, securely fasten the two large hooks, so that 
they come 4 inch inside the edge. Baste the lining 
(right side out) on to the wrong side, fold it 
under to within 4 inch of the outer edges (having 
it fit flatly and perfectly around the hooks) on 
the three sides; baste down, and hem with silk 
to match, Remove all bastings except the one 
across the left end, the edges of which are left raw. 

Baste and over-sew together (see page 4 for 
felled seam) the widths of material comprising 
the outside of the Cope. Do likewise with the 
lining, which of course runs the opposite way of 
the goods. 

Prepare unbleached linen in the largest em¬ 
broidery frame, and baste the top edge of the out¬ 
side of the Cope on to it, to a depth of 20 inches. 
Over this silk lay the long Orphrey into place, 
4 inch from the edge of the Cope. If the Ilood 
is to be sewed onto the Cope, insert the 4 inch 
of raw edge (at top of Ilood) under the lower 
edge of the Orphrey at the centre, as may be 
judged from Fig. 43, and baste. Baste on the 
Orphrey, and sew it down with back-stitches, using, 
silk to match. Bemove bastings, and couch on 
a number of rows of gold or silver thread (or 
gold or silver braid or cord, according to the 
scheme of the Cope) to cover both raw edges of 
the Orphrey. 

Or if the Ilood is to be buttoned on, fasten 
the Orphrey onto the Cope without regard to the 
Ilood, and finish on both edges with the gold 
thread or braid, etc. Then proceed to sew the 
seven small buttons just outside the braid (or gold 
thread or cord) on the edge of the Orphrey, along 
the centre, as may be judged from Fig. 43. Or 
if the Hood is to go over the Orphrey, set the 
buttons as might be judged from Fig. 42'. 


The Cope may now be taken from the frame, 
and the linen trimmed away to within 4 inch of 
each side of the rows of sewing. 

Turn in the edges of both top and circular 
bottom 4 inch and baste. Place Morse in position, 
setting it in 1 inch, and baste and sew firmly as 
indicated in Fig. 42. Place eyes on opposite side 
to match, as seen in the same drawing, and sew 
securely. If fringe is to go around the bottom 
of Cope, baste and sew it onto under side of edge, 
being sure that it is going to be right side out. 

Lay outside portion (wrong side up) flat on 
a large surface, and onto it lay the lining (right 
side up). Have it exactly in proper position. 
Pin along the top, then at centre of bottom edge; 
keep dividing and pinning, until entire edge is 
pinned flat and even. Then baste 14 inches from 
the edge all around and across top. Turn under 
the edges‘so that the lining comes to within 4 inch 
of the folded-in edge of the outside material; 
baste, and hem down with silk to match lining. 
Remove bastings. If gold braid or cord is to be 
sewed around the bottom edge, baste and sew it 
on the last thing, being careful not to catch it 
through onto the lining. 

If there is a border of tapestry, this should 
be applied to the Cope in a frame, at the same 
time that the Orphrey is applied, and in exactly 
the same manner. 

This finishes the Cope. 

It may be added that if a large metal clasp 
is preferred to the made Morse, one has only to 
omit the Morse both in making and inserting, 
substituting the metal Morse the last thing in¬ 
stead. The metal Morse would occupy the same 
position on the Cope that the made Morse does. 



T HE Timicle and 
Dalmatic of 
(Lurch nse have long 
been practically the 
same thing, with no 
difference except that 
the Dalmatic is often 
the more richly dec¬ 
orated of the two. 

. . . The ancients 
wore already in the 
age of Augustus (B. 
C. 27—A. D. 14) an 
Over- tunic for 
warmth and comfort: 
this corresponds with 
our Timicle. In the 
next century we read 
that the Emperor 
C o m m o d u s went 
about publicly in a 
Dalmatic. ... In 
350 A. D. the Dal¬ 
matic was worn in 
Rome by the Dea¬ 
cons, for whom it was 
very suitable because 
it left their arms free 
for serving at the al¬ 
tar and was at the 
same time a distin¬ 
guished and stately 
garment. ... As the 
Deacon enjoyed the 
privilege of wearing 
the Dalmatic, other 
servants of the sanc¬ 
tuary had to be con¬ 
tent with the less dis- 
tinguished Over- 


CHAPTER XIV 


TIIE DALMATIC 


CflOSSW/Sg -FOLD - ZZ in. 


II /a 



I 

I 

. t* 


— zo'/atn. 


v- y-. 


DALMATIC. (One quarter.) 

The curved neck is for the front, and the square neck 
for the back. 

Y> in. allowed for seams and turning in. 

Scale— y$ in. = 1 in. 


tunic, which is now 
called the Timicle, 
and is still the special 
vestment of subdea¬ 
cons and clerks . . . 
Idle orphreys go back 
to classical times 
when they were called 
clavi and were gener¬ 
ally purple. These 
clavi are found also in the mosaics. 

. . . Later on, richly decorated or¬ 
phreys were used. . . . The edges 
of Dalmatics and Tunicles are often 
fringed; and they often have also 
rich silk tassels, which represent the 
laces used at one time to draw the 
shoulder-seams together.” (Dear- 
mer.) 

The Dalmatic (and also the Tun- 
icle) agrees as to color, material, lin¬ 
ing, and embroidery with 
the silk Chasuble set with 
which it is to be worn. As 
with the Chasuble, the Or¬ 
phreys bear the embroidery. 

The measurements of the 
pattern (front or back) are 
as follows, 4 inch being al¬ 
lowed for seams and turning 
in: 

Length down centre 

of front.40 in. 

Length down centre 

of back.41 in. 

Width of shoulder 

fold.22 in. 

Side, to under-arm 

curve.29% in. 

Sleeve-seam, to under-ann 

curve. .. 11% in. 

Width at bottom of 

sleeve.12*4 in. 

Width across bottom.41 in. 


Page Sixt\)-eighl 


























VESTMENTS AND HOW TO MAKE THEM 


P age Sixl\)-nine 



V-5'. 

DALMATIC. 

Showing manner of laying pattern onto goods for cut¬ 
ting. After this is cut, the Neck-pattern (on next page) is 
laid into place, .and the neck is cut out independently. 













Page Seventy 


VESTMENTS AND HOW TO MAKE THEM 


The Orphreys are cut 4 inches wide, and are 
measured as follows, allowing 4 inch for seams, 
and 1 inch on each end of the crosswise Orphreys 
for slipping under the long Orphreys: 


2 long Orphreys, each.91 in. 

4 crosswise Orphreys, each.in. 

2 sleeve Orphreys, each.26 in. 


This makes altogether 270 inches of Orphrey. 
The Dalmatic is cut all in one piece, back and 
front. This is done by first drawing and cutting 

CENT^fT-BOCK 



DALMATIC. Neck Pattern—(entire). 

See preceding page. 

Scale— y$ in. = 1 in. 

the entire pattern (of which Fig. 44 is one- 
quarter). To do this, prepare paper large enough 
to fold double at the top; then draw and cut the 
Dalmatic double, as in Fig. 45. When this is 
done, plainly mark the shoulder-fold, and flatten 
out the pattern; at the neck lay on a pattern cut 
according to Fig 40, and thus cut out the neck 
properly. 

First cut the outside material, piecing (using 
felled seam, page 4) as necessary for width. 
Then cut the lining exactly the same as the out- 
side, and in the same manner. 


To make, prepare the Orphreys as described 
in the chapter on the silk Chasuble, both as to de¬ 
sign and treatment. To apply Orphreys, set the 
entire Dalmatic (flat) into the long embroidery 
frame, and fasten on the Orphreys as described 
in the chapter on the silk Chasuble. For position 
of the Orphreys, see Figs. 47 and 48. 

Fold the outside material together wrong side 
out, and baste and sew the sleeve-seam and the 
side-seam (all in one) on each side to within 20 
inches of the bottom of the Dalmatic. (See Fig. 
44.) Do likewise with the lining. 

Then on the outside material, turn in onto 
the wrong side the edges of the neck, bottom (back 
and front), and the side opening, to a depth of 
4 inch, and baste down. 

If fringe is to be put on around bottom of 
sleeves, bottom of skirt (front and back), and 
side openings, baste and sew it onto the turned-in 
edges, being careful not to catch the needle visibly 
through onto the outside. 

Slip the lining into the outside and fit together 
exactly. Pin firmly together all around the edges, 
and then baste to within 14 inches of every edge. 
Turn under the edges of the lining to within 4 
inch of the edge of the outside; baste down, and 
hem with silk matching lining. 

This finishes the Dalmatic, unless one desires 
to add a heavy silk cord and tassel to hang from 
each shoulder. In this case, the cord is fastened 
to the inside edge of the Orphrey on each shoulder, 
the tassel hanging down to the centre of the upper 
crosswise Orphrey, both back and front. 

For every Dalmatic there must be provided 
a Eucharistic Stole and a Maniple, matching the 
Dalmatic and the Chasuble set. 











VESTMENTS AND HOW TO MAKE THEM 


Page Seventy-one 



} 7 n 


DALMATIC. Front. 
Showing arrangement of Orphreys. 






















Page Sevent\)-lt>o 


VESTMENTS AND HOW TO MAKE THEM 





DALMATIC. Back. 
Showing arrangement of Orphrevs. 






























CHAPTER XV 


THE TUNICLE 





TUNICLE. Front. 
Showing arrangement of Orphreys. 


T HE Tunicle is exactly the same as the Dal¬ 
matic as to color, material, treatment, and 
make; except that on the Tunicle the lower cross¬ 
wise Orphrey is missing on both back and front. 


If desired, the upper crosswise Orphrey may 
be placed slightly lower down on the Tunicle than 
on the Dalmatic. 

The embroidery, while being the same design 


Page Seventy-three 



















Page SeVenl\)-four 


VESTMENTS AND HOW TO MAKE THEM 





TUNICLE. Back. 
Showing arrangement of Orplireys. 


as that on the Dalmatic and Chasuble, is worked 
out in a much simpler way, so as to give a plainer 
effect throughout to the Tunicle. 

A general idea of the arrangement of the Or- 
phreys on the Tunicle may he gained by looking 
over Figs. 49 and 50. 


The silk cord and tassels may be put on the 
Tunicle in the same manner as on the Dalmatic. 
If they are used on the one, they should be used 
on the other. 

For every Tunicle there must be provided a 
Maniple to match the Dalmatic and Chasuble set. 























CHAPTER XVI 


THE MITRE 



S 7. 

MITRE. Front or Back—(entire). 
y~ 2 in. allowed for seams and turning in. 

Also shows position of appliqued gold-work cross, or large jewel. 

Scale —14 in. = 1 in. 

W HILE Duchesne asserts that the Mitre of appears in Roman coins of the tenth century. But 
Bishops is in no way related to the papal we have no reason to suppose that Egbert wore it 
Tiara or Phrygian cap, Dearmer states that the in Church, for our bishops are represented as 
earliest illustration of the Mitre “is on a coin of bare-headed till after the Norman Conquest. . . . 
Egbert, Archbishop of York, 734—766: it next “On the conical mitre shown in the frescoes 

Page Seventh-five 
















VESTMENTS AND HOW TO MAKE THEM 


Page Seventy-six 


at S. Clemente in Home (before 1084), there is 
a fillet: this developed pendent lappets ( infulae ), 
which became characteristic, and the fillet itself 
generally assumed the form of a _L-shaped or- 
phrey. The mitre came to be richly ornamented 
and jewelled; and thus these varieties became con¬ 
venient—the Mitra pretiosa, jewelled; the Mitra 
aurigrigiata, without jewels, used at 
times of less solemnity; and the Mitra 
simplex, of plain linen, used on ordinary 
days and on penitential occasions.” 

The Mitre is the personal and private 
property of the Bishop for whom it is 
made. Therefore the head size differs 
with the individual. The Mitre here 
given is of average dimensions. 

The Mitre is made of any precious 
material—cloth-of-gold, heavy brocaded 
silk or satin, heavy corded silk, etc. It 
is sumptuously embroidered, usually all 
over, and is often jewelled. (In regard 
to jewels, see page 58.) 

Sometimes, however, Mitres are made 
of heavy corded silk, with separate Or- 
plireys, head-band, and Influlae of plain 
satin edged with a silk cord. White 
Mitres are frequently made in this way. 

The lining is the same as the outside, 
both as to Mitre proper and Infulae. 

The front and back 
are well-stiffened with 
an interlining of tailor’s 
canvas; the top is one 
thickness of material 
matching the Mitre; the 
Infulae are either embroidered all over and lined, 
or are of the same material as the Orphreys and 
lined with material matching the Mitre proper. 

Usually the Orphreys are merely indicated 
by the embroidery. At each side (back and front) 
of the upright Orphrey is placed a separately 
made cross of solid gold-work (sometimes bearing 
a large jewel), or a single large jewel richly set 
in gold or silver, according to the general scheme 
of‘the Mitre. 

Often black silk is couched on in rows alter¬ 
nating with the gold thread; this is an enrichment 


if used judiciously and in a manner to rather 
accentuate outlines. 

Gold or silver or silk fringe may be put onto 
the ends of the two Infulae, which may be pointed 
or straight across. The pointed Infulae-ends are 
preferable. 

A cord of gold or silver or silk (to match 
fringe and general color-scheme of the 
Mitre itself) is added all around the top- 

seam and down the side-seams. Narrow 

• 

gold or silver braid is put on as a border 
around the edges of the head-band, the 
upright Orphrey, and along the edges of 
the Infulae. 

The materials needed, therefore, for 

the Mitre are as follows: 

Sufficient goods for outside and lining 
(alike). 

Sufficient tailor’s canvas to stiffen back and 
front. 

Gold or silver cord as required, or silk cord. 
Gold or silver braid as required. 

10 in. of gold or silver or silk fringe for 
ends of Infulae. 

Gold or silver thread as required by em¬ 
broidery design. 

1 spool sewing silk to match Mitre material. 
1 spool yellow (or pale gray) sewing silk 
for couching on gold (or silver) thread. 

If black embroidery silk is to be 
used in doing the embroidery, a certain 
amount of it will be required. Colored 
embroidery silks are 
not used on the Mitre, 
the work being done en- 
tirelv in gold or silver 
thread. 

First draw and cut 
the pattern as described on page 5. 

Cut the outside and the lining for both back 
and front of the Mitre; also outside and lining 
for the two Infulae; lastly cut one thickness for 
the top. 

If the Mitre is to be embroidered, transfer 
the embroidery designs as described on page 5. 
There is an embroidered band around the head; 
a front and back upright Orphrey, which leads 
into the top edge of the embroidered band; and 
an all-over design often covers the front and back 
of the Mitre except where the head-band and Or- 



3 * 2 > 

MITRE. Infula. (One Streamer.) 

There are two of these Infulae, which hang from the 
back of the Mitre to the shoulders of the Bishop. (Entire.) 
% in. allowed for turning in. 

Scale—in. = 1 in. 






VESTMENTS AND HOW TO MAKE THEM 


Page Seventy-seven 


phreys lie. The Infulae are also embroidered all 
over if the Mitre itself is so treated. A square 
cross is often done by itself in solid gold-work on 
linen, cut out, and appliqued (outside of the all- 
over embroidery) onto each side of the upright Or- 
phrey, both front and back. There will therefore 
be four of these crosses to be independently done. 

Set unbleached 

linen into a 

medium-size em- 

broiderv fra m e 
*/ 

(page 2) and 
onto it baste the 
outside of the 
front, back, and 
two Infulae; also 
the extra piece of 
linen with the 
four crosses 
stamped on it. Do 
the embroiderv, 
adding gold braid 
(if desired) to the 
edges of the In- 
f u 1 a e and Or- 
ph reys and along 
both edges of the 
head-band. R e - 
move from frame, 
cutting linen % 
inch smaller all the way around than the em¬ 
broidered material. 

Make the two Infulae by turning in the side 
and bottom edges 4 inch and basting these down. 
Lay fringe on the pointed bottom edges, baste, 
and sew down. Baste on the lining, turn it in 
4 inch on the sides and bottom, and hem down 
with matching silk. Leave the top edges raw. 

Baste the canvas onto the wrong side of the 
embroidered back and front. 

Lay the front right side up, and to its top 
edges fit the corresponding top edges of the top- 
piece (Fig. 53). Baste in a neat felled seam, 


and sew with matching silk (see page 4). As it 
lies, pick up the two loose edges of the top-piece 
and fold it up to fit the two seamed edges just 
done; lay on the stiffened back, and baste and 
sew a seam the same as in the front top. Then 
baste and sew together the two side-seams of the 
stiffened front and back. The Mitre is now to¬ 
gether. 

Turn the bot¬ 
tom edge over the 
stiffening 4 inch, 
and baste down. 
On the under-edge 
at the back add 
the two Infulae, 
having the m 
either close to¬ 
gether or an inch 
apart; set them 4 
inch inside the 
lower edge of the 
Mitre, from which 
they hang; baste, 
and sew down se¬ 
curely. 

Onto the Mi¬ 
tre, in proper po¬ 
sition, applique 
the four m a d e 
crosses; or fasten 
on jewels that have been provided. (See left half 
of Fig. 51.) 

Lay the lining together; baste for felled seam 
and sew the two side-seams with matching silk. 
Leave wrong side out, and slip it up into the 
Mitre. Pin into place, and then baste all around 
14 inches from the edges. Turn in to within 
4 inch of the lower edge; baste and hem down. 
Do the same around the top, having seam inserted 
between lining and stiffening. 

Finish by sewing the cord up each side-seam 
and around the top seam, inserting ends between 
bottom outside and lining. 



MITRE. Top—(entire), 
in. allowed for seams. 
Scale—14 in. = 1 in. 







CHAPTER XVII 


THE MOZETTA 


T HE Mozetta is a deep cape of silk, worn only 
by Bishops and Cathedral clergy. This 
conies from the fact that in olden times, Cathe¬ 
drals being very large and unheated, they became 
intensely cold in winter time. In order to pro¬ 
tect themselves from the cold, Cathedral clergy 
had a cape made to wear about the shoulders; 
this cape was made from heavy cloth, and was 
lined with fur. Some still retain the fur lining. 

The Cathedral color being purple, the Bishop 
wears none but a purple Mozetta; while the 
Cathedral clergy, Dean, Canon, etc., wear Mozet- 
tas of black silk lined with purple silk and having 
purple buttons and buttonholes and purple stitch¬ 
ing. If a Bishop wishes, he may have his Mozetta 
lined with red silk instead of purple, the Mozetta 
being then stitched with red, and having red 
buttons and button-holes. This is optional; but 
whichever the lining of the Mozetta proper is, the 
Hood must also be so lined. 

The Mozetta is worn over the Rochet. 

Like the Mitre, the Mozetta is the personal 
and private property of the individual for whom 
it is made. It seems needless to add that the 
Mozetta is not sewed by hand, having rather a 
tailored effect than otherwise. 

It must be confessed that the Mozetta is about 
the most complicated and difficult to cut of any 
of the patterns in this book. The Hood is par¬ 
ticularly so. But if strict attention be paid to 
measurements, and a blue pencil used to outline 
outside edges, the task will be much simplified. 

The most greatly varying measurements (ac¬ 
cording to the size of the man) will be found to 
be those of the neck and the neck-band. These 
can easily be adjusted, however, as can also be 
the shoulder-seam, if the given pattern is found 
not to fit the individual as well as it should. 

The measurements of the pattern are as fol¬ 


lows, ^ inch being allowed for seams and turn¬ 
ing in: 


Length down centre of front.20 in. 

Length down centre of back.23 in. 

Length of shoulder-seam.23*4 in. 

Width around bottom of front (one side) .30% in. 

Width around bottom of back.56 in. 

Around neck, back...10 in. 

Around neck, front (one side). 7t4 in. 

Width of neck-band of Hood. 2% in. 

Length of neck-band (one side).12*4 in. 

Length of curving seam.18 in. 

Around oval cut-out. 9% in. 


The materials necessary for the Mozetta are 
as follows: 

Sufficient heavy black (or purple for a Bishop) silk 
for Mozetta and Hood. 

Sufficient purple silk for lining of same. 

14 small purple silk buttons to match lining. 

Strip of fine white crinolin, 2 in. wide. 

Strip of white linen, 2 in. wide. 

1 spool purple sewing-silk to match lining. 

1 spool black sewing-silk (for seams, if Mozetta be 
black). 

Basting thread. 

First draw and cut all portions of patterns 
as described on page 5. 

Fold the outside silk lengthwise to cut the 
back, piecing as necessary for width. Cut two 
outside front-pieces, and also two outside portions 
for the Hood. 

Then cut the lining exactly the same, and in 
the same manner. 

To make the Mozetta, lav the two fronts on 
to the back-portion, matching the shoulder seams. 
Baste these seams, and stitch on the machine with 
silk to match. Press open carefully. 

Make the lining in the same way. 

Onto the wrong side of the left outside half 
of the front, baste a 2-inch strip of fine white 
crinolin, -J- inch from the edge. This is for work¬ 
ing buttonholes through. Onto the right half 
baste the 2-inch strip of linen, which serves as a 
stay when fastening on the buttons. 

Slip outside and lining together, having both 


Page Seventy-eight 















VESTMENTS AND HOW TO MAKE THEM 


Page Seventy-nine 



THE BISHOP OF MICHIGAN CITY 
Rt. Rev. .John Hazen White, D.D. 
[Vested in Rochet and Mozetta] 








-LENGTHWISE -2jO,\ 


Page Eighty 


VESTMENTS AND HOW TO MAKE THEM 



MOZETTA. Front—(one side). 
i/» in. allowed for seams and turning in. 
Scale—*4 in. = 1 in. 


/ 







































l£ NG.TH WISE - FOLD 


VESTMENTS AND HOW TO MAKE THEM 


Page Eighlyone 



MOZETTA. Back—(half). 

14 in. allowed for seams and turning in. 
Scale —Vi in. = 1 in. 




































Page Eighly-tivo 


VESTMENTS AND HOW TO MAKE THEM 


wrong side out. Baste for a seam the two sides 
of the front and the entire bottom edge. Stitch 
together on the machine. Turn the Mozetta per¬ 
fectly right side out; baste all around the sides 
and bottom edge, matching seams of the outside 
and the lining exactly. 


lining and outside together. Open out as flat as 
may be, so that the neck-band hangs from each 
side at the top. Baste the raw edges of the oval 
cut-out of the outside, to the same of the lining, 
to form a seam; baste also the outside-ends and the 
lining-ends of the neck-band. Stitch these seams 



MOZETTA. Hood—(one side). 
y» in allowed for seams and turning in. 
Scale— y> in. = 1 in. 


Next make the Hood. To do this, lay the two 
portions of the outside together, and baste up the 
long curving seam to the point. Stitch on the 
machine with matching silk, and press seam open 
carefully. 

Make the lining in the same way, and slip it 
into the already made outside, having both wrong 
side out, matching seams and edges exactly. Pin 


on the machine. Turn perfectly, and baste all 
around the hood ^ inch from the edge. Baste the 
neck-band lengthwise through the middle. 

Fasten the Hood to the Mozetta by the simple 
method of fitting the neck-band to the neck of the 
Mozetta, and basting the outside material together 
in a seam. Remember that it is the lining of the 
Hood that shows when it is folded back and worn, 




























VESTMENTS AND HOW TO MAKE THEM 


Page Eighly-lhree 


instead of tlie outside. The neck-band is not 
folded over, but stands up straight and so forms 
a narrow collar around the neck. 

Stitch on the machine the outside of the neck¬ 
band and the outside of the Mozetta, and press 
carefully. Bring up the lining of the Mozetta, 
and over it lay the lining of the neck-band. Pin 
down, and turn under the edge 1 inch, baste, and 
hem down with purple silk. 

Thread the machine both above and below with 
purple silk, and stitch once all around (on the 
right side) the edges of the Mozetta (bottom and 
sides), up across the ends of the neck-band, and 
around the outer edges of the neck-band and the 
Hood, ^ inch from the edge. 

Cut and work (in purple silk) thirteen hori¬ 
zontal button-holes of suitable size along the edge 


of the left front; also one in the neck-band. Sew 
the buttons in corresponding positions onto the 
right front and neck-band, using purple silk. 

Finish Mozetta by fastening a flat hanger 
(page 13) of stitched purple silk onto the under¬ 
side in the centre of the neck-band. 

Remove all bastings, and press carefully with 
a cool iron on the wrong side, laying a cloth be¬ 
tween the iron and the silk. 

Sometimes the neck-band proper ends a couple 
of inches from each end of the Mozetta-neck, 
which is itself turned in and finished with stitch¬ 
ing. There is then no band at the immediate 
throat, and the priestly collar is in evidence, 
as in the case of the cassock neck-band. Per¬ 
haps this way of finishing has the more pleasing 
effect. 



CHAPTER XVIII 


THE CHIMERE 


T HE Chimere is of black or purple satin, and 
is worn only by Bishops. It is worn over 
the Eochet. 

The Chimere is too difficult to make, to war¬ 
rant any but a professional maker in attempt¬ 
ing it. 

When properly made, it is a beautiful and 
dignified garment, without sleeves, and reaching 
well down to the feet. It is open in front, 
and is therefore something like a sleeveless Cas¬ 
sock. 


Dearmer tells us that “it was worn bv Bishops 
over their Bochets before the Eeformation as their 
out-door habit, even when they went on horseback: 
it is part of the episcopal walking-dress which the 
bishops were warned not to ‘intermit’ by the 74th 
Canon of 1604. ... It has also been worn by 
Post-Eeformation bishops as a liturgical vestment. 
. . . The Canons of 1604 order the Cope, and 
not the Chimere, to be worn by the principal 
minister at the Holv Communion in Cathedral 

V 

churches.” 


\ 


Page Eighty-four 




VESTMENTS AND HOW TO MAKE THEM 


Page Eighty-five 



THE PRESIDING BISHOP 
Rt. Rev. D. S. Tuttle, D.D., LL.D., 
Bishop of Missouri 
[Vested in Rochet and Chimere] 






















CHAPTER XIX 


THE BURSE 


T HE Burse is a case 
used for holding the 
Corporal. 

The outside of the 
covers is embroidered 
silk, both silk and em¬ 
broidery matching the 
Chasuble set for which 
it is made. The two 
covers are lined with 
fine white linen, previ- 
ouslv washed and ironed; 
the side-pieces are of silk, 
lined with the white 
linen. 

The two o u t s id e 
pieces and their lining 
are each cut 11 inches 
square. The two side- 
pieces and their lining 
are each cut 10 inches 
long and 3 inches wide. 
This allows ^ inch all 
around for turning in. 

First cut both por¬ 
tions of the pattern, as 
described on page 5. 

Lay the square pat¬ 
tern onto the outside silk, 
and cut two squares; also 
cut two like squares of 
the white linen. Then 
cut two side-pieces (Fig. 
58) of the silk, and two 
like pieces of the linen; 
these four pieces con¬ 
stitute the outside and 
the lining of the side- 
pieces. 

Cut four squares of 
heavy cardboard (or have 





5X 


BURSE. 

Fig. 57 is the pattern for the outside covers and lining. 
(Entire.) 


Fig. 58 is the pattern for one side-piece. (Entire.) 
V> in. allowed for turning in. 

Scale —Vi in. = 1 in. 


them cut) each ten inches 
square. 

Select embroidery de- 
sign for top square of 
silk (to match Chasuble 
set), and transfer it as 
described on page 5. 
This embroidery design 
may be an adaptation of 
the Chasuble set embroi¬ 
dery if not actually like 
it, or an ornamental cross. 
The design is always 
square. 

Set the silk into an 
embroidery frame (page 
2), and embroider ac¬ 
cording to the rest of the 
Chasuble set. When done, 
remove from the frame, 
and trim linen to within 
^ inch of the outside 
edges. 

Take the four squares 
of cardboard, and stretch 
the embroidered square 
over one. This may be 
done by placing the card- 
hoard exactly in the cen¬ 
tre of the wrong side of 
the silk (holding it in 
place by means of a 
heavy, but conveniently 
managed, paper-weight), 
and taking long stitches 
from side to side across 
the cardboard, catching 
each time into an oppo¬ 
site edge of the silk. 

In like manner fasten 
the plain square of silk 


Page Eighty-six 











VESTMENTS AND HOW TO MAKE THEM 


Page Eighty-seven 


onto a square of cardboard; then the two squares 
of white linen each onto a square of cardboard. 

When this is done, lay the embroidered square 
(cardboard-side up) on a flat surface, and onto 
it lay a linen square (linen-side up). Hold or 
tie these two together firmly, and over-sew each 
edge together with fine thread or white sewing-silk. 
Fasten the other two squares together in the same 
way. 

Prepare the two side-pieces by simply basting 
together a linen piece and a silk piece, turning in 
all the edges f inch, and over-sewing delicately 
with fine white thread. There will of course be 
two of these pieces when done, each with a linen 
lining. 

Set a side-piece in on each of two opposite sides 
of the embroidered square (linen-side in), just 
at the edge; then lay on the plain square (linen- 
side in) and fasten in this position onto the two 
opposite sides. 

Push the side-pieces in between the two out¬ 


side squares, so that they each fold into a pleat; 
over-sew the left end of each pleat together. This 
leaves the Burse open at the right side and closed 
at the left side. Finish closing the left side by 
taking several firm stitches (on top of each other) 
at three places evenly through the edges, thus 
making three silk hinges at the left side, or back, 
of the Burse. 

Finish the Burse by sewing a cord all around 
the six edges, and a single cord along the back. 
Have the cord match the Chasuble set as far as 
possible. 

THE WHITE LINEX BURSE 

If the Burse is to match a white linen Chas¬ 
uble set for hospital use, it is made in the same 
way, but all of white linen. It is not set into a 
frame to be embroidered. Plainer embroidery 
may be used, if desired. A white linen cord, if 
any, is used around the edges. Or white couching 
cord is permissible. 



2.9 


CHAPTER XX 


THE VEIL 


T HE Veil is used to cover the Chalice and 
Paten at the beginning and at the end of 
the Communion Service. 

i 


C 


1 



VEIL. (Entire.) 

y -2 in. allowed all around for turning in. 

Scale —% in. = 1 in. 

It is 23 inches square when finished, and 
matches the Chasuble set as to outside material, 
lining, and embroidery. The embroidery is the 
same design as that used on the Burse, but slightly 
smaller. 

First draw and cut the pattern as described 
on page 5. 

Cut. the outside and the lining alike. 

Embroider the outside as described in the 
chapter on the Burse. Fig. GO shows the position 
of the embroidery on the Veil, and also the method 
of division for arriving at same. 

When the embroiderv is finished, take from 
the frame, and trim linen I inch inside the four 
edges. Turn in each edge of the silk ^ inch and 


baste down. Onto the wrong side baste the lining 
(right side up) ; turn under the edges to within 
^ inch of the edge of the outside material. Baste, 
and hem down with matching silk. 

Finish by sewing a cord (to match that on the 
Burse) all around the edge. 

THE VEIL OF WHITE LINEN 

The white linen Veil is to match the white 
linen Chasuble set, used for hospital purposes. 

It is a simple square of fine linen of the same 
dimensions as the silk Veil. It has no lining, be¬ 
ing hemmed delicately on all four edges. 

The embroidery matches that on the linen 
Burse. 

The white linen Veil is not set into a frame 
to be embroidered. 

Sometimes hand-made lace is put all around 
the edge; or it may be finished with white couch¬ 
ing cord, to match the white linen Burse and 
Chasuble. 

i • 


UJ 

to * 

i : 

1 • — — 

Cj 

2 
U) 

-j ; 

I- 

.(> 0 . 


Page Eighty-eight 


VEIL. 

Showing position of embroidery. 
Scale—% in. = 1 in. 
















CHAPTER XXI 


CONCLUSION 


T HE author is fully aware that this book con¬ 
tains instructions which are painfully minute 
as to detail. There may he some who will take of¬ 
fense at this; but the author has written with the 
sole idea of helping. It seems reasonable to believe 
that those who already know how to make Vest¬ 
ments will not need a book of instructions; and that 
those who wish to learn will welcome exhaustive di¬ 
rections. Some workers are more deft than others, 
and some are quicker to embrace new suggestions; 
but all need instructions in the beginning. 


The author wishes to thank many persons who 
have given much kindly and valuable assistance 
towards making this book possible. The Rt. Rev. 
W. W. Webb, D.D., Bishop of Milwaukee, and 
the Very Rev. S. P. Delany, Dean of All Saints’ 
Cathedral, Milwaukee, have been extremely oblig¬ 
ing; but perhaps beyond all others the Sisters of 
the Holy Nativity have been untiring in their 
assistance and encouragement. To these and all 
others who have helped by word or act, the author 
tenders her heartfelt and affectionate thanks. 


Page Eighl\;-nine 


























































































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